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SPECIAL EFFECTS: 

Stop-Motion Animation 



VENUS 
PIX 




BUCK ROGERS 

THE MOVIE 



'18 



9112 



Tost In Space" Episode Guide 

Robby Meets Wonder Wonnar 

Designing The Galactica A 

Superman 6- Pres. Carte/ 

SF Models: Spacecraft 6- Heroes 



MARK HAMILL: 

'Star Wars" Gossip 



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Photo Guidebooks. 



APRIL 1979 
NUMBER 21 
THE MAGAZINE OF THE FUTURE 




F EATURES 

ROBBY MEETS WONDER WOMAN 18 

INTERVIEW: MARK HAMILL 

"Star Wars" Gossip & Personal Reflections 

VENUS UPDATE 

A Journey Aboard NASA's Planetary Probes ', 

THE GALACTICA'S BRIDGE 

. Designing The Battlestar's Most Important Set 28 

SUPERMAN— THE PREMIERE 

Pres. Carter Finds Out That "A Man Can Fly" 31 

LOST IN SPACE 

Complete Episode Guide Plus A Nostalgic Look At 

The Show With Angela (Penny) Cartwright 34 

INTERVIEW: GEORGE ROMERO 

The Master Of The Living Dead Strikes Again 44 

BUCK ROGERS BECOMES "THE MOVIE" 

Update On The Production That Jumped From 

TV-Fare To Silver Screen Spectacular. 50 

SCIENCE FICTION MODELS 

From Flash Gordon To Mr. Spoclc From Flying 

SaucersTo Sleek Interstellar Craft 58 



DEPARTMENTS 

FROM THE BRIDGE 
COMMUNICATIONS 

Letters From Our Readers i 

LOG ENTRIES 

Latest News From The Worlds Of 

Science Fiction & Fact '„ 

"STAR TREK REPORT" 24 

GERRY ANDERSON'S "SPACE REPORT" 32 
INTERPLANETARY EXCURSIONS, INC. 

Port Of Call: "Hektor" Among The Oddballs 48 

CONVENTION CALENDAR 53 

CLASSIFIED INFORMATION 54 

"STATE OF THE ART" 56 

SPECIAL EFFECTS-PART XVI 

Stop-Motion Animator David Allen Talks About 

Technique & His New Project. "The Primevals" 65 

VISIONS 

SF Currents In The Mainstream. Part III " 

LASTWORD :>' 



APRIL, 1979 #21 



Business and Editorial Offices 

O'Quinn Studios. Inc. 

475 Park Avenue South 

New York. NY 10016 

Publishers 

NORMAN JACOBS 

KERRY O'QUINN 

Associate Publisher 

IRA FRIEDMAN 

Assistant Publisher 

RITA EISENSTEIN 

Editor 

HOWARD ZIMMERMAN 

Art Director 

ROBERT P. ERICKSEN 

Senior Writer 

ED NAHA 

Managing Editor 

BOB WOODS 

Science Editors 

ROBIN SNELSON 
DAVID HUTCHISON 

Associate Editor 

BOB MARTIN 

West Coast Editor 

DAVID HOUSTON 

Assoc. Art Director 

PHYLLIS CAYTON 

Asst. Art Director 

SUSAN STEVENS 

Art Assistants 

LAURA O'BRIEN 
BOB SEFCIK 

Columnists 

DAVID GERROLD 

JONATHAN EBERHART 

SUSAN SACKETT 

GERRY ANDERSON 

DAVID HOUSTON 

Space Art Advisor 

RON MILLER 

Production Assistants-. Beverly GerdirvCampbeli. 
Dovid Hirsch. Peter Mosen, Angelique Trouvere 
Contributors .This Issue; Dove Allen, Robert Coin, 
Michael Catron, William K. Hartmann, Michael 
Hruschak. Mot Irvine, Paul Mandell, Allan Maurer, 
Bob Mecoy, J. Blake Mitchell, Grant Nemirow, 
David Sutton, Steve Swires, Andy Yanchus. 



For Advertising Information: Ira Friedman. Pita 
Eisenstein (2 1 2) 689-2830 



ABOUT THE COVER: With oil the glitter of the 25th 
century, the new Buck Rogers movie arrives. 
Clockwise^ A fiery blost from a laser gun, gallant 
Buck; the dazzling Princess Ardala, Buck's sidekick 
drone, Twiki. See exclusive story on page 50. 
Photos. s N 1 979 Universal. 
ABOUT THE CONTENTS PAGE: Artist Don Dixons vi- 
sion of the dense atmosphere of Venus, through 
which four NASA probes recently decended. Join 
the historic journey on page 26. The art is from 
STARLOG's Photo Guidebook, Spoce Art. 



I just finished examining a colorful new issue of starlog. It clearly says "No. 5 " on the 
cover, but I can understand only about a dozen phrases on the inside. It is literally jam- 
packed with photos, art work and exciting SF products, and it is produced several 
thousand miles away from the starlog home office. It is published by Tsurumoto Room 
Co., Ltd. in Japan. 

Each time one of these beautiful foreign language editions arrives , I am reminded of 
the fact that science fiction is an internationalpassion. 

Most of the time we Americans tend to think that all the science-fiction action takes 
place between Los Angeles and New York. Think again! starlog is distributed in 
England, Germany, Canada, Brazil, Sweden, Greece, Israel, Italy, much of the 
Caribbean area— including Puerto Rico, Trinidad, the Dominican Republic and the 
West Indies— to huge f ollowings in Australia and New Zealand, and , via the Stars and 
Stripes organization, to military PX's all over the world. 

Surprised? Every week we receive letters from sailors aboard ships in the Pacific, from 
soldiers stationed all over Europe and Asia, from students at schools in countries I can't 
even pronounce, and from SF fans who can barely write a few words of English. 

But they do write, and they tell us how much they enj oy science-fiction movies and TV 
shows. It seems that space-age heroics are popular in every spot on the planet. And why 
not? As jet travel, transatlantic cables and communications satellites have pulled the 
peoples of the world closer together, we have all acquired a mutual interest in the 
technological paths toward the future— the dangers and the hopes. Science fiction 
dramatizes those dangers and hopes and helps us see into tomorrow. 

Not only that, but science fiction also infuses us with an adventuresome approach to 
life— an approach that stimulates and inspires us. Good science fiction has a positive 
effect on every human being who is receptive, and that quality is not limited to 
Americans. 

If the people of the world can ever hope to overthrow all the political systems of 
control, restriction and organized misery and establish a planetary respect for life, liberty 
and the pursuit of happiness— this will be brought about by energetic, freedom-loving, 
positive-spirited people who have been inspired by movies, TV shows, books and 
magazines that showed them what the future couldbe like, and ought to be like. 

Good science fiction has a global mission, and it is so much more than the "escapist 
entertainment" that some cynical critics claim is the attraction of the field. This 
magazine, as the most popular, widespread publication in science fiction's history, 
accepts the responsibility of the mission. 

The fact that starlog— starting as a quarterly, increasing to eight times a year, and 
going monthly starting with this issue— is read and enjoyed by more and more people 
around the world, is, I sincerely hope, a good sign for the people of Earth. 





Kerry O'Quinn/Publisher 



STARLOG is published monthly by O'QUINN STUDIOS, INC.. 475 Pork Avenue South. New York, NY, 10016. This is issue 
Number 21 . April 1 979(VolumeFour). Content is © Copyright 1 979 by O'QUINN STUDIOS, INC. All rights reserved. Reprint or 
reproduction in port or in whole without written permission from the publishers is strictly forbidden. STARLOG accepts no re- 
sponsibility for unsolicited' manuscripts, photos, ort, or other materials, but if freelonce submittals ore accompanied by a self- 
addressed, stamped envelope, they will be seriously considered and, if necessary, returned. Products advertised ore not 
necessarily endorsed by SIARLOG. and any views expressed in editoriol copy ore not necessarily those of STARLOG. Second- 
class postage poid ot New York. NY ond additional moiling offices. Subscription rotes. $ 1 7.49 one year (1 2 issues) delivered 
in U.S. and Canada, foreign subscriptions $23.51 in U.S. funds only. New subscriptions send directly to SIARLOG. 475 Park 
Avenue South. New York. NY 1 00 1 6. Notification of change of addressor renewals send to 5TARLOG Subscription Dept, P.O. 
Box 1999. Farmingdale. NY 11737. Printed in U.S.A. 



The very best reading in or out of this world 

4 FOR lO* 

with membership 

Choose any 4 books, including these science fiction greats: THE HUGO WINNERS 
Volume I & 11-23 gripping short stories. A giant, handsome 864-page record of 
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forecasts the return to barbarism. And THE DRAGONRIDERS OF PERN by Anne 
McCaffrey. 3 fascinating adventures in one volume. 

What a way to get acquainted. Browse through the list of books on this paqe and 
choose any 4 for just 100. 

It's the most extraordinary sample of science fiction ever offered in one package. 
Here's how the club works: 

When your application for membership is accepted, you'll receive 
your choice of 4 books for just 100 (plus shipping and handling). If not 
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be cancelled and you'll owe nothing. 

About every 4 weeks (14 times a year), we'll send you the Club's 
bulletin describing the 2 coming Selections and Alternate choices. If 
you want both Selections, you need do nothing; they'll be shipped 
automatically. If you don't want a Selection, or prefer an Alternate, or 
no book at all, just fill out the form always provided, and return it to us 
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decision. If you don't get the form in time to respond within 10 days, 
and receive an unwanted selection, you may return it at our expense. 

As a member you need take only 4 Selections or Alternates during 
the coming year. You may resign any time thereafter, or remain a 
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month is only $2.49. Other extra-value Selections are slightly higher 
but always much less than Publishers' Editions. A shipping and 
handling charge is added to all shipments. Send no money. Send the 
coupon today. 



0075 The Chronicles of Amber. By 
Roger Zelazny. At last - the Amber series 
is complete! Two glorious volumes con- 
tain: Nine Princes in Amber; The 
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7831 Galactic Empires. Brian Aldiss, 
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6221 The Foundation Trilogy. By 

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price $20.85. 

4515 Battlestar Galactica. By Glen A. 
Larson and Robert Thurston. Novelization 
of the pilot for the new hit TV show. Spe- 
cial edition. 



2378 The 1978 Annual World's Best 

SF. Edited by Donald A. Wollheim. The 
best short stories of the year by such 
talent as John Varley, Joe Haldeman 
and Harlan Ellison. Special ed. 

2386 The Star Trek Reader IV. 

Adapted by James Blish. 12 more 
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novel Spock Must Die! Pub. ed. 
$9.95. 

0893 Dawn of the Dead. By George 
Romero and Susanna Sparrow. Re- 
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Dead? The ghouls are back! Pub. ed. 
$8.95. 




Science Fiction Book Club 

Dept. TR357, Garden City, N.Y. 11530 

I have read your ad. Please accept me as a member in the 
Science Fiction Book Club. 

Send me the 4 books whose numbers I have indicated 
below, and bill me just 100 (plus shipping and handling). I 
agree to take 4 additional books during the coming year at 
regular low Club prices and may resign anytime thereafter. 
SFC books are selections for mature readers. 



0786 The Stars in Shroud. By Greg- 
ory Benford. When Ling Sanjen faces the 
plague-spreading Quarn on the planet 
Veden, the fate of humanity is at stake. 
Explicit scenes and language may 
be offensive to some. By the author 
of In the Ocean of Night. Pub. ed. 
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1008 Mission to Mouiokin. By Alan 
Dean Foster. Can anyone help the 
exploited humanoids of the ice world 
Tran-ky-ky - and survive? By the author 
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0869 Infinite Dreams. By Joe Halde- 
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2543 The Dragonriders of Pern. By 

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Dragonquest and The White Dra- 
gon. Special edition. 



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The Science Fiction Book Club offers its own complete hardbound 
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members even more. Members accepted in U.S.A. and Canada only. 
Canadian members will be serviced from Toronto. Offer slightly 
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S1-S119 



'■' O l~*S I 13 1 



Because of the large volume of mail we 
receive, personal replies are impossible. Com- 
ments, questions, and suggestions of general 
interest are appreciated and may be selected 
for publication in future Communications, 
Write, 

STARLOG COMMUNICATIONS 
475 Park Avenue South 
6th Floor Suite 
New York, N.Y. 10016 



"SUPERMAN" SINKS? 

... I have just wasted eight dollars and two hours 
of time watching the new Superman film. The 
film is simply a botched-up mess that is receiving 
too much publicity. The special effects are well 
done, but the storyline is very weak. Many fine 
performers were put in the film so that their 
names could be used in the advertising; for ex- 
ample Glenn Ford, who does not appear long 
enough to allow him to develop the character of 
Jonathan Kent. I feel that the public is being 
cheated out of its hard-earned money by a lot of 
phoney publicity that oversells the product. The 
excellent special effects are useless without ade- 
quate story development. 

Robert K. Phelps 

Zodiac Enterprises 

406 Thomas #4 

Arlington, VA 22203 



... I have just seen Superman — The Movie and 
thought you might like to hear one citizen's opin- 
ion on it. To me it was a very good picture but 
would have been more so without all the advertis- 
ing hype. All the publicity built up so much that 
you thinkit's the event of a lifetime — it isn't. The 
main thing that bugs me is the effect of Super- 
man's flying. On many occasions you can easily 
see the matte line around him, and he never seems 
to be in synchronization with the background. 
Also, after reading all about the movie before- 
hand, I noticed things seemed to be missing. I 
read that Superman was supposed to weld the 
Golden Gate Bridge back together with his X-ray 
vision — it is never shown. And wasn't he sup- 
posed to cook an omelette for Lois? Again, no 
show! And especially the scene in the train in 
which little Lois' parents are shown to be the orig- 
inal Superman (Kirk Alyn) and Lois Lane (Noel 
Neill) ! Please tell me if they pulled a Steven Spiel- 
berg and cut scenes out at the last moment. 
Paul Dornchez 

Cutting and recutting on Superman did continue 
to the last possible moment. The Lane family 
scene was reduced to a brief cameo — if you didn 't 
blink, you recognized Neill and saw the back of 
Alyn's head. 



A MEDAL FOR CHEWIE 

... I think that the reason the wook didn't get a 
medal was because Princess Leia simply isn't that 
tall. He could have received his after the 
ceremony. 

David Raines 

1218 West Water Street 

Berne, IN 46711 
6 



THE NEXT GENERATION 




... I came into the living room to read my then- 
latest issue of STARLOG and found my son al- 
ready engulfed in it, and so he has been ever 
since! He was so engrossed that I was able to get 
my camera from the den, return and snap this 
picture. It is a candid shot and not posed. My son 
may only be four, but he is already a strong SF en- 
thusiast, whether it be through films such as Star 
Wars, or TV shows such as Battlestar Galactica 
and reruns of Star Trek, or publications such as 
yours, which I consider to be the best on the 
market. Your publication has only been out a few 
years but it is already reaching a second genera- 
tion of fans! 

R. Carrier 

6853 Elwell St. 

Burnaby, B.C. 

Canada V5E 1K2 

CINEMAGIC: YOUR GUIDE 
TO FANTASTIC FILMMAKING! 

... I recently wrote the editor of Cinemagic 
magazine, John Cosentino (I think), to order the 
latest issue. He returned my money order and 
wrote that they are "closing shop," so to speak, 
due to the lack of funds. He told me that "the 
STARLOG magazine people want to do it," and 
that they are planning a trial issue. Is this true? 

Mark Andrew Richard Kreiss 

Dunellen, NJ 08812 

Yes, Mark, it's true. The response to STARLOG's 
SFX series by young filmmakers has been so 
great that we are confident that CINEMAGIC is 
just what you and thousands of other filmmakers 
young and old have been looking for. For full de- 
tails, see the CINEMAGIC ad on page 7. 



GALACTICONTROVERSY 

. . .There is one fact that is glaring and certainly 
one of the wonders of Hollywood — the (Galac- 
tica) scripts. Granted Glen Larson wanted to do 
the job solo, but, er, Glen, it just isn't working. 
How nice it would indeed be to have culled main- 
stream writers into this from the start. Consider: 
The script is the most important element in the 
world of visuals, and on TV it is the cheapest to 



come by. Low man on the totem pole is the 
screenwriter. The smallest part of the budget 

Mark Shepard 

Nightfall Productions 

Hollywood, CA 90046 



. . . What powers the Battlestar and Vipers? 
Tylium fuel. What's that? I don't know. I guess 
we'll have to wait for a Battlestar Galactica Tech 
Manual to explain that. 

Dave Sobral 

24 Joyce Road 

East Haven, CT 065 12 

. . .Mr. Zimmerman made his worst blunder (in 
the statement), "Apollo and Starbuck find the 
hidden Cylon attack force," which, I'm sorry to 
report, is a completely inaccurate statement. Zac, 
Apollo's younger brother, was out on patrol with 
Apollo, not Starbuck ! In addition, Zac was killed 
before he reached the fleet! I'd like to know what 
Mr. Zimmerman was actually watching during 
this scene, Mork andMindyl 

Tom Hudson 

2369 East Seminole 

Springfield, MO 65804 

. . . I'm writing in response to Howard Zimmer- 
man's "Lastword" in STARLOG#19, concerning 
Battlestar Galactica. I agree with everything he 
said except for that crack about Space: 1999. 
Space: 1999 had very few episodes involving 
Earth-like planets. You should have used Star 
Trek as a comparison instead. 

Bill Dotson 

Hillsboro, IN 

. . . Battlestar Galactica isn't the only show with 
faults. All shows have faults. (Yes, even Trek has 
mistakes, Trekkies! Even 1999, Alphans!) 

Tom Sorlie 

605 East Seventh St. 

Ankeny, IA 50021 



CORRECTIONS 

In STARLOG It 19, John Williams was mistakenly 
credited with doing the music from Irwin Allen 's 
Voyage to the Bottom of the Sea. The very 
capable composer for that series was actually 
Paul Sawtell. Along with our apologies to Mr. 
Sawtell, here are some additional credits: Cosmic 
Man, Last Man on Earth, The Fly, Kronos and 

Black Scorpion In "Visions," STARLOG 

#20, the actress in the photograph was incorrectly 
identified as Faye Dunaway. She is, actually, 
Genevieve Bujold. . . . In issue #20, Frank M. 
Winter— co-author of the Buck Rogers article- 
was mistakenly credited as being a Buck booster 
since childhood. In actuality, Mr. Winter is Bri- 
tish born and arrived in the United States at the 
age of nine, at which time he was deeply and for- 
ever smitten with a love of America's first TV 
space hero: Captain Video. . . . In the article on 
model rocketry, (issue tt20) a photo credit was in- 
advertently left off on page 62. The shot of the 
launching was taken by Hwry Neuman of the 
Great Lakes Association of Rocketry. 

(continued on page 8) 



NEW FROM THE PUBLISHERS OF STARLOG 



If you are a young filmmaker with a 
special interest in science fiction, 
special effects and the limitless magic 
of the cinema. . . 

THIS IS YOUR MAGAZESE 

For several years CINEMAGIC has been one of the most popular and 
most important movie fanzines published, but like all fanzines, it has 
been very limited in distribution. People have heard of it, but most 
young fil m makers have never actually seen a copy. Back issues are 
expensive, rare collectors' items now. It's almost a mythical under- 
ground legend . . . like the lost continent of Atlantis. 

But now that will change. The publishers of STARLOG have joined 
forces with Don Dohler, the originator of CINEMAGIC, in order to 
produce a new, exciting version of the magazine that will enjoy wide 
distribution (only by subscription and in collector shops— no 
newsstands!) and will include photo articles about pros as well as 
amateurs. 

CINEMAGIC will feature full-color photos, diagrams and design art 
and will guide readers, step-by-step, through the challenging tech- 
niques of backyard moviemaking. CINEMAGIC is a must for everyone 
who enjoys behind-the-scenes film work and everyone who is aiming 
toward a professional career in any aspect of the movie world. 

Published quarterly (4 times a year) CINEMAGIC is available by 
subscription and in limited local stores only! 

To be certain that you do not miss out on a single data-packed 
issue of CINEMAGIC, we suggest that you send in your subscription 
order TODAY!!! 

CINEMAGIC WILL FEATURE: 

* Reviews of new equipment, lenses and optical gadgets for creating 
special effects! 

* Readers' forum— letters and questions exchanging techniques and 
production secrets! 

* Step-by-step illustrated articles detailing methods you can use to 
create visual effects, makeup and sound FX. 

* Learn about exotic film stocks and special lab services beyond the 
comer drugstore. 

* How to produce professional titles that move, change color, melt, 
sparkle, burst into flames, zoom into space . . . all for a few bucks! 

* Tired of square screens? Learn about inexpensive lenses and 
devices to make your picture W-I-D-E-S-C-R-E-E-N 

* Breakaway props for realistic fight scenes. 

* Animation on your homemade stand. 

* Build your own robots with electronic light effects. 

* Make your own foam latex animation models, molds and arma- 
tures . . . and make them come alive! 

* Glass paintings, matte box effects, split screens. 

* Fantastic sets, spaceship control rooms, backyard landscapes . . . 
without blowing your budget! 

NOT ON NEWSSTANDS! Subscribe Today!!! 



Between the pit of Man's fear and the summit 
of his knowledge exists a land populated by 
otherworldly creatures — science-fiction 
aliens, vampires, ghouls, radioactive monsters— be- 
ings beyond description. Their homeland is the realm 
of fantasy, and now, for the first time, comes a major 
magazine totally devoted to the many worlds of the 




A Phantasmagoric Flight Into 
Sheer Imagination 

Here, at last, is a magazine that will explore the outer 
limits of imagination, offering glimpses of both far-out 
science fiction and out-and-out fantasy. Hobbits, horrors 
and hideous invaders from outer space will join forces 
each issue with the real-life artists who create them to 
bring you the BEST of movie and TV creature features. 




Each issue includes— 

* Pages of FULL-COLOR photos!!! 

* Original horrific art!!! 
* Exclusive interviews!!! 

* Behind the scenes in Hollywood!!! 

* Monster makeup secrets!!! 

* Animation and special effects!!! 

* Fright film updates!!! 

* . . . plus MUCH MORE!!! 



Mail to:0'Quinn Studios, Dept. DEPT. S21 
475 Park Ave. South 
New York, NY 10016 

FANTASTICA 

SUBSCRIPTION: 

□ One Year (6 bi-monthly issues) $9.98 

(U.S. and Canada) 
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SAMPLE COPY: (Premiere Issue, #1) 

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Starlog Goes Japanese 



STARLOG now has a very special Japanese edition; chock- 
full of rare color stills and Japanese SF news. STARLOG, 
published, in a format ypu've never seen before, features 
bold Japanese graphics, with fantastic full-color, pull-out 
posters in every issue. Packaged in a plastic, laminated 
cover, the Japanese STARLOG is a visual treat for all SF 
collectors and enthusiasts. 




Alimited quantity of the Japanese STARLOG, issues No. 
1-4, ha s been imported for U .S. fans. The premiere issue 
features STAR WARS and includes a double poster featur- 
ing Wonder Woman and a full-color spread of 62 SF film 
posters from the collection of Forrest Ackerman. Issue No. 
2 highlights science-fiction television and focuses on STAR 
TREK, with a starship Enterprise poster and blueprint 
details. Issue No. 3, the special-effects issue, contains a com- 
bination color poster of a planetary landscape SPA CE: 
1999 Eagle 1 blueprint andSFgraphic catalogue spread. 
No. 4, the Gerry Anderson Supermarionation issue, 
contains (2) triple pull-out posters filled with Shusei 
Nagaoka artwork, X-wing Fighter blueprints, Godzilla 
animations and Thunderbirds Are Go] model poster. 
Send for your Collector's issues now. These high-quality, 
special import editions are available on a first-come, first- 
serve basis. Send $9.99 per issue plus $1.01 postage and 
handling for each copy ordered (foreigh orders add $1 .99 
postage and handling) in cash, check or money order 
payable to: STARLOG— Dept. J-21, 475 Park Avenue 
South, New York, NY, 10016. U.S. funds only. 



THE OFFICIAL POSTER BOOK 
ON SALVAGE I 

From STARLOG/FUTURE 

Featuring in Full Color: 
Special Effects: 
Exclusive Color Pix 
The Stars of Salvage 1 

• Andy Griffith 

• Trish Stewart 

• Joel Higgins 

• J. Jay Saunders 

• Richard Jaeckel 

• Plot Summaries 

• Behind-the-Scenes Stories 
• Exclusive Interview with 
creator/producer 
Mike Lloyd Ross 
Send $1.50 plus 75* for postage to: 
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(continued from page 6) 



SCHALLER'S ART 

... I recently saw a painting of Jupiter in Omni 
magazine by the artist Adolf Schaller. I wrote to 
the magazine inquiring about this painting, to see 
if I could purchase a reproduction of it. They, in 
reply, referred me to you. If you could be of any 
assistance I would appreciate it very much. 

Joan M. Lurker 

3ernardsville, NJ 

The painting, ' 'Jupiter Probe, " is featured in the 
STARLOG Photo Guidebook, SPACE ART, as a 
full-color, two-page spread. There have been 
more inquiries about this work than any other 
painting in the book. The original is part of the 
STARLOG collection, but there are no plans to re- 
produce it. Schaller, however, is one of the most 
talented visionaries in the art field, and we are of- 
fering another of his original paintings as one of 
the future prints in the Space Art Club. He is also 
featured in "Future Gallery" (centerspread of 
FUTURE #8) with an equally fantastic vista. 



BLUEPRINT ARTIST. 
IDENTIFY YOURSELF 




STARLOG recently received a fine set of pro- 
fessionally designed and executed blueprints 
from one of our readers. We are extremely inter- 
ested in contacting this talented young draftsman 
who is also a member of the U.S. Army. Unfor- 
tunately, the letter accompanying the blueprints 
was misplaced and no name or address appears 
on the prints themselves. So. ■ ■ if this is a photo 
of your work, whoever and wherever you are, 
please contact us and identify yourself— STAR- 
LOG is interested in using your skills profes- 
sionally. 



PROFESSIONALLY SPEAKING 

... I have been a fan of your magazine from the 
beginning and admire what you have done and 
are doing. Too many professionals in the SF 
world tend to look down on TV and movie fan- 
dom as a lower form of life. This is wrong. Not 
only do these media satisfy in their own way but, 
if the writers want to be selfish, the films and TV 
are bringing thousands— perhaps millions— of 
new readers into the field. If I have a criticism of 
your magazine, it is that some might think of 
your content as uncritical. If it is SF in film or TV, 
it must be good. The other side of this coin might 
be that there is so much good stuff around that 
you can pick and choose and only run the best. 



I am happy to see in Howard Zimmerman's 
editorial in STARLOG #19 that your magazine has 
the guts to be critical even of the biggies. Battle- 
star Galactica is a real schtick drek and must be 
labeled as such . It has so been labeled by you . The 
time has come to call a halt to imitations of 
derivative films of copies of Star Trek. 

Harry Harrison 

Dublin, Ireland 

Thank you for your comments — we're always 
curious as to how the pros view what 's happening 
in SFTV and cinema. Ho wever, we still feel that 
Galactica has the potential to become a trendset- 
ter in its own right. Only time — and the right 
scripts — will tell. 



HOOKED ON WHO 

... I have recently become a Doctor Who fan, 
thanks to the series now televised in the U.S. 
Needless to say I was overjoyed to see a small arti- 
cle in your December issue (STARLOG # 1 8) . Men- 
tioned in that piece was an international fan club. 
I'd like very much to join it, if I only knew where 
to write. 

Ms. J. R. Heramia 

East Providence, LI 

Judging by our recent mail, Doctor Who is 
quickly becoming a favorite among STARLOG 
readers, so expect continuing coverage of the syn- 
dicated British series in these pages and in our 
brand new sister mag, FANTASTICA. For full in- 
formation on the fan club, write: 

The Dr. Who Appreciation Society 

c/o John McElroy 

221 Onion Court 

The Barbican 

London EC2 

England 

VOX POPULI DEPT. 

... In the article on Rod Serling, the series 
Night Gallery was briefly discussed — is there 
any chance there will be a follow-up to that 
article? 

Robert J. Lawrence 

13308 McRae Avenue 

Norwalk, CA 90650 



... I'd like to know if you are planning an arti- 
cle on the new Twilight Zone-ish TV produc- 
tion, The Next Step Beyond. 

Marty O'Donnell 

R.D. 1 Schamp Circle 

Lebanon, NJ 08833 



... I, and I am sure some of my friends, would 
love to see a complete episode guide of the new 
science fiction serial, Jason of Star Command. 

Rex Emmons 

7957 Kennard Road 

Lodi, OH 44254 

Although none of the above are planned at the 
current time, if we receive sufficient positive 
response to your suggestions, they will be 
covered in future issues of STARLOG or 
FANTASTICA. * 




EVERYTHING THAT'S HAPPENING IN 
SCIENCE-FICTION MOVIES, TV AND MORE!! 



EACH FULL-COLOR ISSUE INCLUDES: 

• SPECIAL EFFECTS— Exclusive photos, interviews and diagrams of behind-the- 
scenes movie magic! 

• MOVIE PREVIEWS & REVIEWS-The earliest information on new SF & Fantasy 
productions, plus the full story on the making of each film, 

• DAVID GERROLD— Science fiction's outspoken young author writes a regular col- 
umn on "The State of the Art." 

• INTERPLANETARY EXCURSIONS, INC. -Journey to a different part of the solar 
system each month with Planetary Scientist Jonathan Eberhart . illustrated with full- 
color space art! 

• TV EPISODE GUIDES— Cast lists, plots, credits, interviews, photos & more data on 
current and classic SF-TV series. 

• MOVIE CLASSICS— Definitive retrospectives on the most popular of SF films, with 
interviews & full-color photos! 

• STAR TREK & SPACE: 1999-Susan Sackett's latest update from the set of the Star 
Trek movie, plus producer Gerry Anderson's up-to-the-minute comments on Space: 
1999 and his future projects. 

• LOG ENTRIES— Latest news from the exciting worlds of SF, fantasy and science fact! 

• CONVENTIONS, COMPUTERS & COMICS- Any subject that even peripherally 
touches the SF world is covered in STARLOG! 



I STARLOG Magazine 



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NASA'S PLANS 
FOR 79 



NASA's activities in 1979 will include 
the first launch and orbital flight of 
the crew-carrying space shuttle; Jupiter 
and Saturn encounters by two Voyager 
spacecraft; and a flyby of the rings of 
Saturn by the Pioneer 11 spacecraft. 

Three launch sites will be used by 
NASA: Cape Canaveral, Fla.; Vanden- 
berg Air Force Base, Calif.; and Wallops 
Island, Va. 

Eleven of the 16 launches on the space 
agency's schedule are reimbursabtes — 
satellites launched by NASA for other 
agencies or corporations. 

As was the case in 1978, most of the 
1979 launches will emphasize the use of 
space for the direct benefit of people on 
Earth — communications, environmental 
and meteorological information. During 
1978, the agency logged 20 launches — 11 
of them reimbursables for paying custom- 
ers, including Department of Defense, the 
National Oceanic and Atmospheric Ad- 
ministration (NOAA), the United King- 
dom, Western Union Corp., Comsat Corp. 
and RCA. 

The first orbital flight of the space shut- 
tle is now scheduled for Sept. 28, 1979. 
(though further engine complications may 
yet again delay the maiden voyage). Astro- 
nauts John Young and Robert Crippen 
have been named as crew members on the 
first flight, which will be launched from 
Kennedy Space Center, Fla., and land 
about 53 hours later at the NASA Dryden 
Flight Research Center, Edwards, Calif. 

On March 5, 1979, the Voyager 1 space- 
craft, launched from Earth on Sept. 5, 
1977, was scheduled to make its closest ap- 
proach to the planet Jupiter and travel on 
to make a close approach to the planet 
Saturn on Nov. 12, 1980. Its sister space- 
craft, Voyager 2, which was launched 
Aug. 20, 1977, makes its closest approach 
to Jupiter on July 9, 1979, and to Saturn 
on Aug. 27, 1981. 

The Pioneer 11 spacecraft, launched 
April 6, 1973, on its primary mission to fly 
by Jupiter, is scheduled to make its closest 
approach to the rings of Saturn on Sept. 1 . 

The 1979 schedule began with two 



launches on Jan . 25 . Spacecraft Charging at 
High Altitudes (SCATHA) was launched 
aboard a Delta from Cape Canaveral for 
the Department of Defense. That same day, 
a NASA applications satellite, Strato- 
spheric Aerosol and Gas Experiment 
(SAGE-A) was sent aloft on a Scout rocket 
from Wallops Island, Va. 

Two more launches are earmarked for 
April: NOAA-A, a weather satellite to be 
launched for the National Oceanic and At- 
mospheric Administration, on an Atlas-F, 
and Navy-20 for the Department of De- 
fense. Both launches will be at Vandenberg. 

FLTSATCOM-B, a Navy/ Air Force 
communications satellite, is on the calendar 
for May, aboard an Atlas Centaur from 
Cape Canaveral. UK-6, a scientific satellite, 
will be launched for the United Kingdom on 
a Scout launch vehicle from Wallops in 
June. 

Westar-C, a communications satellite, 
will be launched from Cape Canaveral on 
a Delta in July and another communica- 
tions satellite, Intelsat V-A, will be launch- 
ed in August from Cape Canaveral on an 
Atlas Centaur for Comsat Corp. 

One of NASA's scientific satellites, 
High Energy Astronomy Observatory-C 
(HEAO-C), will be launched in September 
on an Atlas Centaur from Cape Canaver- 
al. Another NASA satellite, this one in the 
applications area, Magsat-A, a magnetic 
field satellite, is also scheduled for a 
September launch from Vandenberg on a 
Scout. 

The Solar Maximum Mission 
(SMM-A), a NASA scientific mission, is 
scheduled for October on a Delta from 
Cape Canaveral and Navy 21, on a Scout, 
from Vandenberg. 

In November, another communications 
satellite, Intelsat V-B, will be launched for 
Comsat Corp., on an Atlas Centaur from 
Cape Canaveral. 

The year's schedule closes out with two 
launches in December: a weather satellite, 
NOAA-B, for NOAA on an Atlas-F from 
Vandenberg; and RCA-C, a domestic 
communications satellite for RCA on 
Delta from Cape Canaveral. -it 



10 



ELLISON BOUND, 
ILLUSTRATED 
IN 3-D 



Illustration and full- 
color art have long 
been an integral part 
of modern science-fic- 
tion literature. Lately, 
however, words and 
pictures have merged 
even closer together 
within the genre, 
creating a new and ex- 
citing hybrid: graphi- 
cally illustrated science 
fiction. Baronet Pub- 
lishing, in cooper- 
ation with Byron Preiss 
Visual Publications, 
has recently released 
one of the most impres- 
sive volumes yet to — 

emerge from this burgeoning field— The Illustrated Harlan 
Ellison. 

The Illustrated Ellison features seven lavishly illustrated 
stories interpreted by eight different artists: Jim Steranko, 
Ralph Reese, Wayne McLaughlin, Overton Loyd, Tom Sutton, 




This promotional art for The Illustrated Ellison is a montage of characters from three of the 
stories; notethe laughing "Harlequin" in rear. 



Alfredo Alcala.William 
Stout and Neal Adams. 
"'Repent, Harlequin!' 
Said the Tick- 
tockman" leads off the 
volume. 

"Harlequin!" is the 
only story in the book 
depicted in 3-D, 
although every book 
comes with 3-D glasses 
bound into the inside 
cover. More than half 
of The Illustrated Elli- 
son is presented in full- 
color and high quality, 
glossy paper has been 
used throughout. The 
signed and numbered 
hardbound edition sells 
for $14.95, with paper- 
back editions listing for 
$8.95. 
Both versions should 
please ardent SF litera- 
ture buffs almost as much as they delight Ellison himself. "In the 
past," he says, referring to the book's visual clout, "I've been 
quite disappointed in the graphic adaptions of my work. This 
work is representative. It's about as accurate a visual translation 
of my work as I've ever seen." ■& 




^iiMMn 



.rv JC/TUnMi\ 



from SF Film Productions 



Science-fiction fans and professionals cus- 
tomarily adapt their vacation plans to 
accommodate their interest in the fantastic. 
This year the most appealing package to be 
found for the affluent fan is Eastern 
Michigan University's "Science Fiction 
Seminar Abroad." Though billed as an 
"introduction to science fiction and fan- 
tasy," guest speakers like Brian Aldiss, 
Michael Moorcock, Robert Sheckley and 
Ian Watson should make it a lively con- 
ference. The three weeks of lectures, dis- 
cussion groups and film viewing will take 
place at University College in London and 
at the University of Sussex this August, and 
will close with attendance at SEACON '79, 
the 37th World ScienceFiction Convention, 
to be held in Brighton. 

The $447 fee includes room and break- 
fast for 21 days, tuition and fees, all 
materials except books, SEACON '79 
membership, all ground transportation and 
social hours at both universities. Charter 
flights to England (that will cost you extra) 
are being arranged. 

For full details write Dr. Marshall B. 
Tymn, English Department, Eastern 
Michigan University, Ypsilanti, MI 48197. * 



11 



NEWEST RELEASE 




SPACE ART CLUB Print #2, "Exploring Titan" 
Painted by Ron Miller 



"Exploring Titan": Saturn's Earth-like moon is 
beset by a curious crew of Earthlings in this 
classic exploration scene. In the foreground, 
three astronauts make scientific measurements, 
while another returns to the parked Titan rover. 
At lower left, the Titan landing craft and an- 
other rover. The ringed planet Saturn looms in 
the sky, where wispy clouds are formed by 
Titan's methane atomosphere. 



Ron Miller: In addition to serving as Space Art 
Advisor to STARLOG and FUTURE LIFE, Ron 
Miller is the author of Space Art, an exhaustive 
compendium of astronomical art published by 
STARLOG. Formerly an illustrator/art director 
for the Smithsonian Air and Space Museum, 
Miller's works can be seen at that institution. He 
was one of the artists invited by NASA to docu- 
ment the Apollo-Soyuz launch in 1975. 



Membership in FUTURE LIFE's Space Art Club is officially closed (for this year, anyway), but 
space art lovers may still purchase individual prints as they are issued. A limited number of 
the high quality, fine art prints will be available for a short time. Costforthe 18"x24"suitable-for- 
framing prints is $10 each. Prints will be mailed in a reinforced cardboard tube. Postage and hand- 
ling cost is $2. So if this exciting scene of future exploration appeals to you — order now! When our 
supply of limited-edition prints is gone, money will be returned. (A very limited supply of Space Art 
Club Print #1, "Space Station 2000" by Bob McCall, is currently available.) 



ORDER TODAY! 



Mail orders to: FUTURE LIFE DEPT. S21 
475 Park Avenue South 
New York, N.Y. 10016 

Print #2, "Exploring Titan" by Ron Miller 

Print #1, "Space Station 2000" by Bob McCall 



$10 each, plus $2 postage/packaging. 
Total enclosed: $ 




Name 



Address 



City, Stated Zip Code 

If you do not want to cut up this page, type order on a separate sheet of paper. 



I 
I 



"FUTUREWORLD" JOINS THE 
CULTURAL REVOLUTION 

Picture yourself strolling along Peking's 
Tien An Men Square, and there, amid 
all the political wall posters, is a movie 
banner sporting Peter Fonda's face. Has the 
easy rider been purged by the Politburo? 

On closer inspection, you'll notice that 
the poster is actually a promotion for 




The people's robot: China rides the SF wave. 

Futureworld, and, at the same time, heralds 
a new Chinese cultural revolution of sorts. 
The SF film will be the first American pro- 
duction to be shown to general audiences 
throughout China. Though the Chinese 
have purchased other American films in the 
past, they were only screened before elite 
viewers. 

Jules Stein, vice president of American 
International Pictures Inc., distributors of 
Futureworld, says he has received a signed 
contract permitting the film to be shown in 
China's 4,000 theaters. He says the Chinese 
have paid an undisclosed amount granting 
them screening rights for three to five years. 

Who knows, with the era of Chinese- 
American relations on the rise, SF pro- 
ducers may soon be catering to 800 million- 
plus new fans. Only two months ago the 
People 's Daily, China's authoritative news- 
paper, printed a scathing review of Star 
Wars, stating that it "reflects the discontent 
of the American public and the hope of 
finding consolation in the world of 
illusion." Perhaps the Chinese have now 
found a need as well as a use for some good 
old capitalist consolation. * 



MOVIE SOUNDTRACK RECORDS 

FROM STARLOG RECORDS 



"DROP DEAD" KIDS ON 
THE COMEBACK TRAIL 

Fresh from his success with the remake of 
Invasion of the Body Snatchers, pro- 
ducer Robert Solo has announced plans for 
the remake of yet another science-fiction 
film classic, The Village of the Damned. 
The new version, set to begin production 
late in 1979, has been scripted by Joyce and 
John Carrington, based 
on British novelist John 
Wyndham's brilliant 
novel, The Midwich 
Cuckoos* 

Originally filmed in 
1960 for MGM by pro- 
ducer Ronald Kinnoch 
and director Wolf Rilla, 
the movie concerns the 
effects a strange space mist has on a small 
English village. After the mist's ap- 
pearance, a dozen women find themselves 
pregnant, eventually giving birth to a group 
of fair-haired children who possess superior 
intellect, a total lack of emotion and un- 
limited telepathic powers (including the 
ability to kill people via the use of their 
glowing, brain-enslaving orbs). Originally 
shot in black and white, this tale of space 
half-breeds starred George Sanders, Bar- 
bara Shelley, Martin Stephens and Michael 
Gwynne. The remake, not as yet cast, will 
also be lensed at MGM. * 




3-D IN PRINT 



Stereo Views from Troubador press offers 
34 exciting examples of 3 -dimensional 
photography from private collections and 
public resources, representing nearly 125 
years of this unique art form. 

Each book includes two pairs of red-blue 
viewing glasses attached inside the front 
cover. A very wide range of 3-D photo- 
graphy and art is included from civil war 
scenes to NASA photographs of the Mar- 
tian surface — all in 3-D. 

The book also contains an authoritative 
explanation and history of stereoscopy. 
New sub- 
scribers to 

STARLOG 

may also be 
interested in 
obtaining 

STARLOG 

issue #5 
which pre- 
sents exten- 
sive articles 
on the tech- 
nique and 
history of 3-D films and photography com- 
plete with scenes from Star Trek in 3-D. # 




HERRMANN 
LIVES AGAIN 

OUR LATEST 

RELEASE 




$8.95 

(plus postage 

& handling} 

BERNARD HERRMANN was one of the grestest composers ever to work in motion pictures. His scores 
to Hitchcock movies like "Psycho." "North By Northwest," "Vertigo," and "The Man Who Knew Too 
Much," were responsible for creating new heights of suspense, thrills, adventure, and terror. His music 
for "The Day the Earth Stood Still," "Seventh Voyage of Sinbad," "Mysterious Island," and "Journey to 
the Center of the Earth," helped make these films classics and endeared him forever to fantasy and 
science-fiction fans. 

About a year before Herrmann's death, he composed and conducted a moody, mysterious score for 
"It's Alive." an SF-horror tale of a monster mutant baby The success of the film led to a sequel, and Her- 
rmann's music was lovingly and respectfully reorchestrated and conducted by his dearl friend Laurie 
Johnson. Its not party music; it's a score for those who want to dim the lights, get into a dark mood, and 
listen carefully to some wonderful musical chords and effects/including bizarre instruments such as 
twin synthesizers The score to "It's Alive 2" (complete on this record) will recall the entire range of Ber- 
nard Herrmann's golden years in film music Can be played in STEREO or QUAD (SQMatrix] 

BIG DRAMATIC MUSIC 

A full hour of exciting orchestral suites from the movies 
of Albert Classer, one of the most prolific and talented com- 
posers of Hollywood's Golden Age. 

Never previously released, the thundering, soaring scores 
include stereophonic sound, and the deluxe jacket opens 
up revealing rare photos, credits, and notes on the eight 
science-fiction and adventure shows. "The Cyclops," "Top 
of the World," "Beginning of the End," "Amazing Colossal 
Man," "Big Town" TV series, "Buckskin Lady," "The Cisco 
Kid," "The Boy and the Pirates." 

$8.98 (plus postage & handling) 

GROFE'S ONLY FILM ALBUM 

For the first time, a soundtrack record of the classic 1950 
movie-of Man's first step into space. 

The dramatic full-orchestra score (complete on this 
album) is a stunning example of early Romantic film music 
— the type that inspired scores like "Star Wars." 

Composer Ferde Grofe is best known for his "Grand Can- 
yon Suite" and other classics The theremin, a wailing'elec- 
tronic instrument used in Hitchcock's "Spellbound," is 
heard in the Mars sequences. 

A "must" for SF fans and soundtrack collectors, the 
jacket includes photos and extensive background notes. 

$7.98 (plus postage & handling) 




#tf% 



Send cash, check or money order to: 
STARLOG RECORDS DEPT. S21 

475 Park Ave. South 
New York, NY 10016 



_"The Fantastic Film Music of ALBERT GLASSER" 

$8.98 (plus postage & handling) 
_"ROCKETSHIPX-M"$7.98(plus postages, handling) 
-"IT'S ALIVE 2" $8.98 (plus postage & handling) 



NAME 



ADDRESS 



CITY 



POSTAGE & HANDLING 

U.S.A.— 4th Class postage: $72 each record 

—1st Class postage: $1 52 each record 
Canada— each record (U.S. funds]: 12.02 
Foreign— each record (US funds): $4.02 

Total Enclosed: $ 



STATE ZIP 

DEALERS: Write for wholesale rates on these, and exciting 
future releases from STARLOC RECORDS 

NOTE: Send order on separate paper, if you don't want to 
cut out coupon. 



Canadian & Foreign Customers: Payment in U.S. Funds Only. 



These records have limited store distribution. If you cannot find them, 
order direct from STARLOG RECORDS 



SUPERMAN DUSTED FOR DIGAMY 



Below: Reeve as Clark 
Kent. Far right: Reeve 
as Superman — his own 
competition for Lois. 




Right: Reeve (as 
Harper) placates 
first wife Arlene 
to keep her from 
talking. Top: Big- 
amist Ben weds 
innocent Betsy in 
church ceremony 



Christopher Reeve has become an instant 
international star on the basis of his first 
major movie role, that of Clark Kent/Su- 
perman. Film reviewers — regardless of 
their opinion of the film — have been almost 
unanimous in their praise of Reeve's dual 
portrayal. He is utterly convincing as he 
switches effortlessly back and forth be- 
tween personae. 

However, Reeve did have some previous 
experience in playing a role that called for a 
secret identity. In his longest-running stint 
on network television, Reeve played the 
young smoothie Ben Harper on CBS' day- 
time drama, Love of Life. As Harper, 
Reeve found it necessary to lead a double 



life, since he was married to two women in 
the same town at the same time. His first 
wife was sex kitten Arlene Lovett (played by 
Birgitta Talksdorf). Although they had sep- 
arated, she followed him to his new home 
— after he had married sweet society girl 
Betsy Crawford (Elizabeth Kemp). Instead 
of taking him to court, she chose to black- 
mail him. 

It was all downhill for Ben Harper from 
there— a falling out with both wives led to a 
prison term for bigamy. It was at that point 
in the plot that Reeve bowed out of the soap 
to pursue his career. And not a moment too 
soon: The new Harper's first scene was that 
of the victim of a prison rape. -ft 



OF VAMPIRES AND ROBOTS 

Filmmaker Bill Malone, who is probably 
best known to starlog's readers as the 
owner of Robby the Robot from Forbidden 
Planet, has embarked on a new venture. 
Vampyre, a Gothic thriller that he is writing 
and directing, is ' 'primarily a love story that 
tries to recapture the feel of the old Gothic 
Hammer films." Already cast as the vam- 



pire, who instead of lurking as a bat or were- 
wolf, is a real human being caught in a twi- 
light world, is Daniel Pilon of Starship In- 
vasion. Diana Davidson plays the role of his 
servant, Trish. Vampyre is scheduled for 
spring production. 

Malone has also penned a synopsis for a 
forthcoming episode of Bat ties tar Galactica 
filled with ' 'nasty robots and sinister ladies" 
for the spring season. * 



GIRDLERS "OVERLORDS" 
LIVES 



Before his untimely death last spring, 
director William (The Manitou,Day 
of the Animals) Girdler chatted with 
starlog about an upcoming science- 
fiction production he was planning that 
was "totally unreal." Fortunately for SF 
movie fans, Girdler's ideas for that film 
live on in the forthcoming Avco Embassy 
release, The Overlords. Helmed by 
longtime Girdler associates, producers 
Melvin Gordy and Nikita Knatz, The 
Overlords is currently being promised for 
1979. 

Based on a script by Harry Kleiner 
(who, in turn, based his screenplay on 
Girdler's idea), the film deals with the pro- 
spect of an alien visitation to Earth 
thousands of years ago. It begins in 
modern-day Egypt when two opposing 
groups of humanoid aliens land to search 
for a buried alien artifact. The visitors are 
human in every respect but one. Where 
eyes would normally be on an Earthling, 
there are two pulsating blood-red orbs. 

The warlike groups is led by Cyngus, the 
pacifist entourage by Marcus. Cyngus 
tricks scuba diver Eric Rolsten into 
recovering an alien mummy from an 
underwater tomb. During that excavation, 
however, Eric's entire party is wiped out 
by a strange laser weapon. Although both 
alien groups are allergic to water, Marcus 
dives in and saves a drowning Eric. The 
Earthman and the kindly alien then pool 
their strength against the evil Cyngus who 
has absconded with the mummy ... the 
still-living form of Zarya, the last of the 
royal line from the planet Pisceum. 
Pisceum's peace-loving population was 
taken over by Cyngus, the leader of the 
barbarian planet Taures. Marcus must 
now rescue the Princess Zarya and take 
her back to her planet where a rebellion is 
in the works. She is the only one who can 
lead her people to victory. 




Currently in pre-production, the film 
promises to be a swashbuckling space 
opera. Marvin J. Chomsky, who directed 
1978's TV production of Holocaust for 
NBC and half of ABC's classic Roots, will 
head the direction. * 



14 



1 d.' a L' 1 1 




^^^* w 







#1 — $3.50 

PREMIER ISSUE 

Interview: Fred Pohl. 
Chesley Bonestell Art. 
Tomorrow: Isaac Asimov. 




#2 — $3.00 

Interview: Clarke. 
Hynek's UFO Story. 
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A New Space Fable by TzLO"RT«3 
THE BOY WHO SAVED THE STARS 




Written by Doris Vallejo 

Historic in several ways, this is the first book Boris has illustrated 
for children, as well as his first published collaboration with his 
writer/wife, Doris. Done especially for STARLOG/ FUTURE, this 
imaginative fable of space is destined to become a modern classic 
in youth literature. 

Beautifully printed in vivid full color on every page, this 
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32 pages of Boris' detailed, skillful renderings, but in a charming 
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One of the demons 
of Hurd's Cthulu. 



LOVECRAFT FILM FINALLY OFF 

P reproduction work has begun (again) on 
The Cry of Cthulu, the first in a series of 
proposed films based on the concepts of 
H.P. Lovecraft's Cthulu Mythos to be 
made by independent producers David 
Hurd and William Baetz for their Cinema 
Vista Productions Company. Originally 
scheduled for a summer '77 release, the 
Cthulu project has gone through a series of 
frustrating setbacks 
but has managed to 
grow in size and scope 
< in the wake of each 
| postponement. Now, 
| with their budgetary 
s problems resolved, 
6 Baetz and Hurd are 
g determined to pull 
1 out all stops for this 
tale of demonic inva- 
sion. 

To keep the story 

true as possible to the Lovecraft mythology, 
Hurd (who has also written the script), 
worked closely with Arkham House Pub- 
lishers, who own the rights to the Lovecraft 
materials. 

Set to direct Cry is Wolfgang Glattes, a 
respected production authority in Ger- 
many, where location filming will be done in 
Stuttgart and the Black Forest. Glattes has 
worked as assistant director on Cabaret, 
Downhill Racer and Twilight's Last Gleam- 
ing. 

Hurd's screenplay calls for extensive 
special effects, including more than 25 dif- 
ferent stop-motion animation characters. 
The job of supervisor of special visual ef- 
fects has gone to Ernie Farino, whose work 
on low-budget features and television com- 
mercials extremely impressed the pro- 
ducers. Farino and Cinema Vista are put- 
ting together a fully equipped studio for the 
effects work and a virtual army of ani- 
mators and effects technicians. This 
"Nightmare Factory," as the filmmakers 
have dubbed it, will contain facilities for 
animation and rotoscoping, stop-motion 
photography, sculpting, miniature con- 
struction, glass and matte painting and 
more. Close to $2 million will be spent on 
the effects. 

Also on the production team is Craig 
Reardon, who will supervise the extensive 
makeup effects. Reardon has worked as 
associate to Rick Baker on a number of 
projects. 

A.I.P. executive Ceil Armanda is execu- 
tive producer of the project, and although 
the film will be produced independently, 
Paramount Studios has first option on 
distribution. Shooting schedule calls for 15 
weeks of principal photography and 17 
months of special effects work. The current 
budget for Cry is $6 million. 6- 



THINGS TO COME 
IN FUTURE LIFE #10 

Space science and spacey science fiction 
are the stars of future life #10, on sale 
April 3. Princeton's Gerard K. O'Neill, 
author of The High Frontier, offers step- 
by-step instructions on how to build a space 
colony. On the movie front, future life 
reports on the upcoming H. G. Wells film 
renaissance, previewing the multi-million 
dollar space opera, The Shape of Things to 
Come as well as visiting the set of Time 
After Time; a tale of time travel featuring a 
cross-century battle between H. G. Wells 
and Jack the Ripper. In an exclusive inter- 
view, Dr. Timothy Leary, Genetic Intelli- 
gence Agent, talks about Space Migration, 
Intelligence Increase and Life Extension for 
the 1980s. TV's award-winning Nova 
opens its doors for future life readers, 
revealing the unique type of scientific detec- 
tive work necessary for each show. Roger 
Zelazny imagines crimes of the future. Jes- 
co von Puttkamer envisions life in Star 
Trek — The Motion Picture's 23rd century. 
Artist Don Davis presents a spectacular 
space art centerfold. G. Harry Stine ex- 
plains how to design a Getaway Special 
project for starlog/future life's space 
shuttle contest. Jane Fonda, star of the 
forthcoming nuclear thriller The China 
Syndrome, details the pitfalls of nuke 
power. Industrial designer/painter Syd 
Mead portrays a variety of futuristic 
elements, from fashions to cityscapes to 
automobiles. Also on hand: Space Warfare 
— a frightening look at the military's plans 
for squabbling among the stars, Databank 
news, the latest in Hardware and book 
reviews. ■& 



THE FAMILY THAT ZAPS 
TOGETHER STAYS TOGETHER 



Charles Band Productions just can't 
leave well enough alone. In 1978 they 
attacked Los Angeles in Laserblast, then 
destroyed Earth in End of the World. Not 
satisfied with that, nearly the same team 
that made the SFX so much fun in those 
two films has thrown an American family 
into the Vortex. 

Steve Neil, Paul Gentry and Wayne 
Schmidt are the young Californians 
responsible for the writing, producing and 
special effects in this new, low-budget ef- 
fort. Starring Chris Mitchum and Dorothy 
Malone, Vortex is the tale of a house on 
the edge of a "dimensional line." A 
cosmic wrinkle throws the dwelling and its 
occupants into fabulous worlds beyond 
their imagination. 

This simple plotline is merely a hook on 
which to hang a myriad of far-out effects. 
After a three-and-a-half week shooting 
schedule in Apple Valley, Neil was happy 
to report that the projected six months of 
stop-motion animation, matte and optical 
work was going as well as anticipated. 

"We wrote Vortex with SFX in mind," 
he says. "We have more opticals than 
2007, and Charles Band has been nothing 
but supportive throughout the whole pro- 
ject. He's a producer who really seems to 
like SF." 

It is Band's concern which assures the 
production team total freedom within their 
budget to make their futuristic vision, 
complete with a spaceship graveyard and 
several alien races. "Not many people 
would give 'untried' talent a chance," 
adds Neil. -£ 



SUPERMAN VERSUS SIOUX CITY- POSSIBLE LAWSIOUXT 




The Joint Committee for a Greater Sioux- 
land, formed by the Chambers of Com- 
merce of the three Sioux Cities (that's Iowa, 
Nebraska and South Dakota) in order to 
"combat negativism by area residents," de- 
vised a super promotional idea last year. 
The Committee designated the Sioux City 
area "Siouxperland" and distributed pro- 
motional material bearing a logo with a 
striking similiarity to that used on the Su- 
perman comic books. The publicity device 
was effective because of its familiar-yet- 
different look. Unfortunately, they failed 



to consult the trademark's owners, DC 
Comics. 

After receiving a letter from DCs law- 
yers requesting a change in the color and let- 
tering style of the logo (DC claims no objec- 
tion to the sound-alike name), committee 
chairman Robert Thomas wrote to DC 
president Sol Harrison, claiming that the 
promotion was devised with some help 
from Warner Brothers pictures as a tie-in to 
their Superman film. 

According to Louise Dembeck, attorney 
for DC, Warner had ultimately refused to 
participate in the campaign as a movie tie-in 
and had referred the committee to DC for 
approval of the logo — which the committee 
failed to do. * 



16 






No. 1 — 

Star Iiek Raft; Colt* f't 

Complete Episude Guide 
Shainei & Nimov Ariicte 



No. 2- 

Space 1999 Yeat i Guide 
War of the Worlds 

Logan s Run. The Comics 



No. 3- 



■ Slaf Tret* Convention 
Spaceships. 1999 Yeat 2 
Guide SF TV Movies Guide 



No. 4 — 

Outer Limits' TV Guide 

Arena." Nick Tate Talks 

3-0 Movies Fiimography 



No. 5 



3-D Part 2. - UFO Guide 
Star Trek Censored. SF TV 
Address Guide. Space Am 



No. 6- 

"Fantastic Journey." Star 
Trek" Animated, Special 
Effects— Part 1 




"Star Wars.'' Robby the 
Robot. Eagle Blueprints. 
"Star Trek" Report 



Model Animation, "The Fly," 
Hartan SSson interview. 
Sat. Morning TV. NASA Pix. 



No. 9 — 



Interviews: Pat Dutfy. Lynda Car- 
ter, Shalnef . Jared Martin, Fan- 
tastic Journey Guide, Star Wars, 
SOsTVSF. 



No. 10 — 

Astmov. Close Encounters pie- 
viw. SF-Rock, SF Merchandise 
Guide. Interviews: Harryhausen, 
Bakshi. George Pal. 



No. 11 — 

The Prisoner, Computer Games, 
The Superman movie. Incredible 
Shrinking Man, SP FX: The 
Makeup Men. SF Comics. 



No. 12 - 



Close Encounters feature, Star 
Trek It, Computer Animation, 
Laser Blast, Art by Bonestell. The 
Makeup Men. cent. 




No. 13 - 

Logans Run Episode Guide. 2001. 
Disney's Space Fifms, The Time 
Machine, David Prowse- 
Darth Vader. 



No. 14 — 

Virgil Finlay art. Jim Danforth 
interview. "Project UFO." 
Capricorn One. Star Wars. 
P.S. Ellenshaw 



No. 15 — 

This island Earth. Episode Guide 
"The Twilight Zone." Sound 
Effects. David Gerrold 
"Death Beast ". chap. 1 



No. 16 - 

The invaders Episode Guide 
Solar Power Satellites 
Bob WcCaii s Buck Rogers Art 
Interview: Alan Dean Foster 



No. 17 - 

Special Fall TV issue 
"Galactica"' Color Poster 
interviews: Spielberg. Roddenberry 
SFX: Miniature Explosions 



No. 18 



"Galactica"— Behind the Scenes 
Dr. Jekyll & Mr. Hyde 
2nd Annual Merchandise Guide 
SFX Hollywood Halloween! 




No. 19 



Interview: "Galactica" "s Maren Jensen 
The Body Snatchers Return 
Bakshi on "The Lord of the Rings" 
NASA's Spacesuit Propulsion Unit 



TAUUASO07MO** 




WW* 
OOMUK 



SUPERMAN 

ARRIVES 



No. 20 — 

"Jason of Star Command" 
Buck Rogers 50th Anniversary 
STARLOG Science Fiction Poll 




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Below: Robby the Robot gives a wonderfully accurate per- 
formance as the MC of the costume contest at a typical 
science-fiction convention — the mythical Space Questicon.j 
Inset: The Cat and Lizard costumes (worn by extras) that 
won fan designers Blake Mitchell and James Ferguson a trip 
to the Wonder Woman set. Lynda Carter was only briefly pre-J 
sent for this scene, but the fans did get to meet her. 







mm 




«m 





Is it possible for two dedicated science-fiction fans and 
inveterate convention goers to possess more expertise 
than the professionals? Would the pros in Hollywood pax; 
attention to the fans or seek their advice? Read on! 



By DAVID HOUSTON 



When J. Blake Mitchell and her 
partner James Fergusun won the 
Galacticon "Fan's Choice" 
award for their cat and lizard costumes last 
fall in Los Angeles, they won a bonus no 
sane convention goer could hope for. 

"As Jim and I were joyfully thanking 
everyone for the award," Blake says, "I 
looked up into the face of a kindly, gray- 
haired gentleman with a stopwatch hanging 
around his neck and a camera crew peering 
over his shoulder. At first I thought it was 
just the 11 o'clock news folks." But one of 
that group introduced himself as Ivan 
Dixon, director of CBS' Wonder Woman. 
"Somewhere in the conversation I vaguely 
recall him saying how much they like our 
costumes and would we mind if they bor- 
rowed them." 

Blake was speechless, but Fergusun 
chimed in, "Sure, they're yours." 

It seems that Bill Taylor, a grad student at 
UCLA, avid SF fan and frequent conven- 
tion goer, had submitted and sold a 
script to Wonder Woman.lt was a story in 
which powerful gems are stolen and 
smuggled out during the inanities of an SF 
con. The gems are stashed in a cane which is 
the grand prize at the costume competition. 
Ergo, the need for way-out getups. 

Director Dixon and his crew had been at 
Galacticon shooting background footage 



for use in the episode — in the halls, the 
dealers' room and so forth — but they had to 
stage their own costume competition under 
studio conditions. Blake and Fergusun were 
invited to the day of shooting, to watch their 
costumes in action. 

"When we stepped onto the sound stage 
(Stage 24A at the Burbank Studios), we 
were in Wonderland," says Blake. 
Fergusun concurs, nodding and smiling. 
"The crew had decorated the set with 
enough flashing lights, complicated- 
looking panels and tricky wiz-bangs to 
delight any con goer." 

Since Wonder Woman is a fully union- 
ized operation, no real fans were in the 
assembled horde of extras; they were all 
members of the extras' union — about 40 of 
them. Along with the "cat" and "lizard" 
borrowed from Blake and Fergusun, 
there were familiar aliens dredged up from 
various property departments around the 
city. It's doubtful that any of the "profes- 
sional" costumes represented [he time and 
effort behind the cat and lizard— which 
took months of design and spare-time 
building. "About 80 hours, I'dguess," says 
Fergusun. 

The master of ceremonies for the fic- 
titious contest at the equally fictitious Space 
Questicon in Wonder Woman, was our old 
pal Robby the Robot— Bill Malone's 
replica of the classic Forbidden Planet char- 
acter, with Bob Short inside. 



"Poor Bob Short, stuffed in Robby' s 
plastic innards, couldn't hear Ivan when he 
yelled, 'Cut!' Kelly, the first-assistant 
director, finally got through to him from 
about six inches away at seven decibels," 
Blake relates. She says Bob Short "did a 
perfect imitation of the inane dialog of 
those awful MC's who insist on auditioning 
their stand-up comedy material instead of 
describing your costume." 

The day's shooting involved only five 
camera setups, and the only real action 
came with the bolting of the bad guy — 
stuntman Dave Cass in a barbarian out- 
fit—who has to plow his way through the 
milling aliens. Lynda Carter appeared 
briefly once, to deliver a few lines of dialog. 
Blake relates: "James went into hyper-drive 
when she smiled and said hello to him!" 

Blake and Fergusun were impressed by 
Ivan Dixon's evident desire to get things 
right. "Bill Blake, known in the Los 
Angeles area for his knowledge of Logan's 
Run," she explains, "was there lending his 
marvelous replica of a Sandman's gun. At 
one point an extra wearing a Rem costume 
marched on stage and began firing at two 
pretty runners! Bill stepped up to Ivan and 
informed him of the gross error. Ivan 
thanked him and ordered the Rem changed 
into a Sandman." 

At the end of the day, Blake and Fergu- 
sun were as exhausted as the cast and crew. 
"All I could get out of Fergusun was, 'God, 
she's beautiful,' " Blake moans. Fergusun 
is fairly new to the con costume scene, but 
for Blake, the Galacticon prize was her 
108th. "If I had a nickel," she says, "for 
every time a con producer said, ' Listen kids, 
do a good job because there might be a TV 
producer or director out there 
tonight 

But this time, there really was! * 

19 




%1M 




^1 









\ 




I 




An Interview with 
Mark Hamill 



By STEVE SWIRES 



A 



t the ripe old 
age of 26, 




Mark Hamill 
is regarded as a mo- 
tion picture superstar 
on the basis of just 
one film ... his first, 
Star Wars. In addi- 
tion, because writer- 
director George Lu- 
cas was generous 
enough to give him a 
small percentage of 
the movie's profits, 
he is financially inde- 
pendent as well, and 
need never accept an- 
other acting assignment. For most perform- 
ers, that combination would represent the 
culmination of a career, but in Hamill's case 
it's only the beginning. This is a totally dis- 
orienting position for a down-to-earth lad. 
As a result, Hamill finds himself very much 
a stranger in the strange land of Hollywood . 

Surrounded by a movie business not ex- 
actly known for its sincerity, Hamill finds it 
difficult to tone down, to express himself in 
anything less than a truthful manner. In 
short, he's having a hard time learning to 
bite his tongue. 

An indication of this trait showed recent- 
ly when, stopping in New York to promote 
a film, Hamill was asked to comment on 
John Dykstra's pointed non-involvement 
with the upcoming Star Wars sequel, The 
Empire Strikes Back. Roaming around a 
posh Manhattan hotel room, the young ac- 
tor doesn't think twice before replying. 



Luke Sly walker Comes of A g e 

Mark Hamill has found out that being a superstar isn't all that 

easy. A 24-year-old unknown during the filming of Star 

Wars, he now begins the sequel with the press touting him 

as a living legend. . . at the tender age of 26. 



"Dykstra is a traitor!" 

Referring to Dykstra's involvement with 
Battlestar Galactica, he continues, "If you 
remember, the show was originally called 
Star Worlds — at least until the lawyers 
stepped in. They even had characters with 
names like Jack Starwalker. It was really 
pathetic." Calming down a bit, he adds 
"Even so, I hope it proves a big hit, be- 
cause, after all, when American Grafitti 
came out, so did TV's Happy Days. When 
the James Bond movies came out, so did 
The Man From U.N.C.L.E. It's a process 
that's inevitable. 

"Fair is fair. John is a tremendously 
gifted man, so why should I say that he 
should stay on our ballteam? He was the 
star pitcher and he goes for the best offer. 
John has become a star. As far as I'm con- 
cerned, he's a much bigger star than I am. 
Why shouldn't he be? He had much more 



to do with the success 
of Star Wars than 
I did. 

"But still, when I 
found out he 
wouldn't be working 
on the sequel I was 
very upset. I thought, 
'Hey guys, we all 
made this movie to- 
gether. ' I became very 
depressed, because I 
figured he didn't like 
us anymore. I knew 
that John and George 
(Lucas) had prob- 
lems. George had 
such a clear vision of 
what he was trying to 
pull off, and John is a technical, photo- 
graphic kind of guy. 

"At first I wanted to tell him how much 
we wanted him, but I never got to speak 
with him. He was off doing one thing, and I 
was off doing another. The next time I met 
him was when he won his Oscar, and all I 
could say was, 'Congratulations. Boy did 
you deserve it!' I sincerely meant that, but if 
we could just sit down over a beer I'd say, 
'John, please will you come back?' 

"The problem with me is that I don't 
think I understand things right. I'm having 
a hard time relating to movies as just a cold- 
cut business. Because of the success of Star 
Wars we're now confronted with even tech- 
nicians as stars. If I offer you x-amount of 
dollars a week and you say, 'Gee that's nice. 
You want me and you're willing to pay me 
that much,' and then somebody else comes 
in and says, 'I'll offer you that much plus 

21 



$5,000,' it becomes bread-and-butter time, 
especially if you've got three kids and a wife 
to support. The reality is that there's no 
loyalty involved. I know your readers 
would much rather hear about the wonder- 
fulness of John Dykstra's input, and I don't 
want to put him down or make him feel 
bad, because he's a terrific artist, but what's 
really neat is that ultimately we don't need 




ture in which he plays a lonely young man 
obsessed with a prized automobile. His 
choice of a third feature, a World War II ac- 
tion epic called The Big Red One, in which 
he co-stars with Lee Marvin, enabled him to 
stretch his talents in yet another direction. 

Hamill seems to have made a conscious 
effort not to allow his ego to become in- 
flated by his success, because, in his opin- 
ion, he was simply in the right place at the 
right time. "I lucked into Star Wars," he 
says. "I know there were hundreds of other 
actors being considered for Luke Sky- 
walker in New York, San Francisco and 
London. 

"Does that make me think I'm the best 
actor who auditioned for the role? Of 



have seen guys working on all sorts of dif- 
ferent posters. One made it look like The 
Little Rascals in Outer Space, and another 
was a 2001 clone with an important state- 
ment to make. There was one that pro- 
claimed it, 'The story of a Boy, a Girl and 
the Universe, ' and another that said, 'Com- 
ing to your galaxy this summer — the man 
who brought you American Graffiti now 

brings you ' 

"The one I liked best was, 'Never before 
in cinema history has so much time, money 
and technology been spent . . . just for fun. ' 
That showed that the movie wasn't preten- 
tious. It meant, 'Hey, just relax— it's not a 
big deal.' But for some reason they didn't 
think that would work either." 



*<HPhe problem with me is that 
A I don't think I understand 
things right. I'm having a 
hard time relating to movies 
as just a cold-cut business. *' 



him. Just as George went out and found 
him, he can now go out and find other 
special-effects people." 

Besides having to get used to the politics 
of show business and the petty jealousies 
which plague many films, Hamill is still 
finding it difficult to think of himself as a 
genuine Movie Star. "Since Star Wars, I've 
been offered some really amazing deals. I'm 
not used to playing with Monopoly money 
yet, so when I hear the offers it's like, 'Ex- 
cuse me, I have to sit down now and splash 
cold water on my face. Can you hold the 
line?' Then I come back and say, 'Now, can 
you repeat that number?' The only trouble 
is that most of the scripts I've been sent are 
terrible. I remember one in particular was 
about a pioneer boy who was instrumental 
in saving a covered wagon. He had a pet 
mountain lion with whom he tracked down 
Indians, and to whom he would say things 
like, 'Golly Bucky, they followed us! ' It was 
like Luke Skywalker Meets the Indians." 

Consequently, Hamill has been very 
selective in what projects he will accept, 
even though he says, "You begin to think: 
'Well, I'm not working, and I should 
work.' That's what everybody else says, so 
it becomes hard to turn down offers." 

For his follow-up to. Star Wars he chose a 
completely different kind of picture, Cor- 
vette Summer, a romantic comedy-adven- 
22 



course not — I'm just the best version. 
George didn't know who I was, and he 
couldn't have cared less. He never even 
asked me how old I was. I was 24 when I 
made Star Wars, and Luke was supposed to 
be 20. Maybe if he knew I was that old he 
wouldn't have chosen me." 

Astohowwellhedidinthe part , " I think 
I really fit in," Hamill says. "During the 
shooting I was becoming upset that I might 
be overshadowed by all the special effects, 
and I know that Harrison Ford and Carrie 
Fisher were concerned about the same 
thing. Fortunately, Alec Guinness said to 
me, 'Look, you're the juvenile lead. In 
every kind of fantasy picture there has to be 
an anchor in reality, to contrast with all the 
bizarre elements. If you didn't fit in, the au- 
dience would say the special effects were ter- 
rific, but it was too bad the story and the 
characters didn't work out.' " 

Hamill may well be the biggest Star Wars 
fan of all, so no one is more surprised than 
he is at how popular it became. "I've always 
thought that Star Wars was a picture that 
was discovered by the public," he says. "It 
wasn't a pre-sold property. As a matter of 
fact, right up until the time it opened no- 
body was sure how to sell it. There were 
something like 13 different proposed ad 
campaigns. If you'd visited the 20th Cen- 
tury-Fox Art Department back then, you'd 



Because of his genuine enthusiasm for 
the project, Hamill was surprised and dis- 
appointed to discover that some people 
actually disliked Star Wars. "I was in Paris 
for a few days," he recalls, "and I met this 
one critic who was unbelievable. He showed 
me his review and asked me to comment on 
it. I memorized what he wrote, so this is 
word-for-word. 'Not only did I find Star 
Wars vapid and unimaginative, but I found 
it downright frightening in its mystical-re- 
ligious, crypto-fascist, bargain-basement 
dogma.' 

"Unfortunately, my first response was 
that he couldn 't say that three times fast in a 
row. So he said, 'Well, Mr. Hamill, you 
might be very glib now that you're a mil- 
lionaire from this picture, but I feel that the 
. political climate here in Paris right now is 
tantamount— which is the first time I had 
ever heard that word; I love it and I use it 
now all the time— to the political situation 
in pre-Nazi Berlin, where everyone was hav- 
ing a great time right before disaster struck. ' 
To him the 70s were like the 30s and he 
thought I didn't care because I was a 
spoiled, capitalist pig. He was being unfair, 
of course, and there was nothing I could do 
about it, but I still felt real bad." 

Perhaps Hamill's most embarrassing 
anti-Sfar Wars incident occurred in Chi- 
cago, where he appeared on a live talk show 



with his co-stars Harrison Ford and Carrie 
Fisher. "The host started out by acting real 
nice," he remembers. "Then we went on 
the air, and his whole attitude changed. He 
said, 'We're sitting here with Mark Hamill, 
Harrison Ford and Carrie Fisher, the stars 
of Star Wars — if you haven't heard of it, 
where have you been? Let me begin by say- 
ing that it's certainly not a great picture. In 
fact, there's nothing great about it. The 
script isn't great, and these actors are cer- 
tainly not great. ' We're listening to this, and 
the three of us are just dying. 

"The problem was that we had been 
booked on a Sunday morning financial 
show. This guy was only interested in how 
the picture affected 20th Century-Fox's 
stock, and to him we were just three dumb- 
bell actors who got a lucky break. He fin- 
ished up by saying, 'I don't want to put you 
on edge or anything, but let me sum up by 
saying that it's certainly not Ingmar Berg- 
man.' I looked over at Harrison, and I 
could see the veins on his neck popping out. 
Then the host brought his daughter over, 
and he said, 'Lydia just loves you. Could 
you sign your autographs With love to 
Lydia from a galaxy far, far away and 
Galacticaily yours. I can laugh about it now, 
but at the time I really had to give a perfor- 
mance just to remain calm." 

Of all the Star Wars critics, the one who 
seems to have provoked the most emotional 
response from Hamill is writer Harlan Elli- 
son, who contends that the picture repre- 
sents the triumph of technology over con- 
tent, of special effects over a "people 
story," to the ultimate detriment of both 
science-fiction film and literature. 

"I don't want to get on a panel with Elli- 



like the Don Rickles of science fiction. 

"He wrote one article in which he said 
something like, 'Not only is Luke 
Skywalker a nerd, but Darth Vader sucks 
runny eggs. ' That's a wonderful effect, and 
he really should be a lounge act in Las 
Vegas. I don't think it's worthy of him, with 
the reputation he has as a wonderfully im- 
aginative science-fiction writer, to lower 
himself in that way. Why should I think his 
opinion is important, when I know my 
opinion isn't important? 

"People tell me not to take him seriously. 
They say that deep down he really liked Star 
Wars, and it's just his personality that 
makes him think he's Lenny Bruce. Instead 
of him saying that the movie hurts his mar- 
ket for serious science fiction, he might 
think that he can now get a project of his 
own off the ground more easily because of 
it. When he does — and I'm sure he will — 
then I hope he'll calm down, although I'm 
also sure he'll never thank George Lucas. I 
really wish he'd go back to writing his 
stories, instead of just writing about other 
people's successes." 

HamiU's fan fervor is authentic, because 
like millions of others he grew up loving sci- 
ence fiction and horror films and Marvel 
and DC Comics, as well as being a faithful 
reader of Famous Monsters of Filmland 
magazine (which also counts among its sub- 
scribers George Lucas and Steven Spiel- 
berg). Unlike most other fans, however, 
Hamill has recently had the opportunity to 
meet some of his idols, chief among them 
special-effects wizard Ray Harry hausen. 

"My best friend Jonathan works at the 
Los Angeles Art Museum in the film de- 
partment," he explains. "One day I called 



want to speak to him?' 

"I said, T don't know what to say to him. 
Do I say, 'Hi, I really like you?' Anything I 
said would have sounded stupid. Then I 
realized it was probably a chance in a life- 
time, so I said, 'Put him on. ' Then there was 
a little mumbling, and the next thing I heard 
was, 'Hello, this is Ray Harryhausen.' All I 
remember saying was, 'Thank you. For 
good or for bad, your films really captured 
my imagination and just intrigued me so 
much.' 

" I can remember seeing his Jason and the 
Argonauts on a double bill with a Tarzan 
movie when I was a kid. Jason went on 
first, then I recovered through Tarzan, then 
I watched Jason again, then I ran around 
the theater lobby digging up jujubees from 
the rug with a screwdriver, and then I 
watched Jason again for the third time. I 
went to the theater in the early afternoon, 
and I came home late at night. It was the first 
time I got in really bad trouble with my 
parents, and I was on restriction for three 
weeks. I couldn't figure out how he did it, 
whether it was a guy in a suit or what. I was 
eleven when I saw it, which was the perfect 
age for that kind of picture. In fact, if Harlan 
Ellison was eleven, he'd probably love Star 
Wars." 

Currently awaiting the start of produc- 
tion on the Star Wars sequel, which has a 
projected release date of the summer of 
1 980, Mark Hamill is in the unique position 



^lf don't want to get on a 
Mpanel with Ellison. I saw 
him on a talk show in Canada 

and I thought he was like a 
game-show host. He's like 
the Don Rickles of science 
fiction. 9f 




son, ' ' Hamill says. "I understand he's a tre- 
mendously talented science-fiction writer, 
although I've never read any of his fiction. I 
saw him on a talk show in Canada, and I 
thought he was like a game-show host. He 
makes me laugh so much that every time 
people take Star Wars so seriously, I go 
back to Ellison's articles about it and say, 
'Why can't these people understand?' He's 



him up to ask him something, and he says, 
'Guess who just walked in the door?' — be- 
cause he knows I'm such a fan. I asked, 
'Who?' He made me try to guess, and it be- 
came like 'What's My Line?' 'Does he have 
a hit series, or would he like one?' 'No, 
that's eight down and we move to Arlene 
Francis.' Finally, when I couldn't figure it 
out, he said, 'It's Ray Harryhausen. Do you 



of being able to act out his adolescent fan- 
tasies on the silver screen, thereby providing 
millions of kindred spirits with a fantasy life 
of their own. Beyond that, he can look for- 
ward to being similarly thanked by future 
film fans for the contributions he has made 
to their childhood. And that's a "force" 
which is bound to be with them as long as 
their imaginations live. * 

23 



A Fan News Column by Susan Sackett 




It was a cold and rainy Sunday 
in Los Angeles, the kind of day 
that, according to the Cham- 
ber of Commerce, never happens 
in Southern California. But the 
weather failed to dampen the 
spirits of the members of the Star 
Trek cast and crew who had arriv- 
ed at Paramount Studio's Cafe 
Continental for the special pre- 
football game brunch, co-hosted 
by William Shatner and Leonard 
Nimoy. Each arriving guest was 
greeted personally by Bill and 
Leonard, who handed out sou- 
venir buttons (prepared by prop 
master Dick Rubin) which read 
"STAR TREK— THE MO- 
TION PICTURE," while a rib- 
bon attached below proclaimed 
"Shatner-Nimoy Day, December 
17, 1978." Following the catered 
brunch, two busloads ferried the 
group to the Los Angeles Coli- 
seum, where we cheered the Los 
Angeles Rams on to a 31-14 vic- 
tory over the Green Bay Packers. 

With principal photography 
nearly completed, the coldest De- 
cember on record for these parts 
was warmed by the relaxed atmo- 
sphere of holiday festivities as the 
new year approached. Over 350 
people enjoyed the Christmas 
party given by Gene Rodden- 
berry and Robert Wise on Stage 
6. Dick Rubin again took time 
out from his important responsi- 
bilities as property master by ar- 
ranging for the catering, enter- 
tainment and special balloons 
which read "Merry Xmas from Bob and Gene." 

All of the Enterprise interior scenes have been completed, and the 
sets are being salvaged so that they will be readily available for se- 
quels. Our final story sequences are being shot on three separate 
stages — 6, 8 and 15; during the production we also used four other 
stages — making a total of seven stages to date, more than any other 
picture ever done at Paramount. 

Apollo IX astronaut Russell Schweickart spent a week on the 
Star Trek set at Gene Roddenberry's and Robert Wise's invitation, 
giving us very valuable technical assistance in some space-walk 
scenes. Rusty spends most of his time giving advice to California's 
Governor Jerry Brown, serving as his science advisor at the Sacra- 
mento capital. 

We still have several sequences to shoot, as well as our post-pro- 
duction scenes which will include sequences without the leading 
cast. Also, during the next several months, we are looking forward 
to the optical-effect scenes now being prepared. 

Other scenes still to be filmed include the KTingon sequences, and 
extensive work is being done to develop a Klingon language which 
24 




The leaders of Star Trek, both on camera and off. From 
left: Wise, Roddenberry, Nimoy, Shatner and Kelly. 



Condition "Green" on 
"Star Trek" Movie 



will sound authentically Klingon- 
ese. At last, aliens speaking their 
own language instead of perfect 
English. 

Along with the release of the 
film, there will be many exciting 
new items of Star Trek merchan- 
dise, according to Richard Wes- 
ton, Paramount's vice president, 
Merchandising and Licensing Di- 
vision. Milton Bradley Company 
has already contracted to repro- 
duce some of the movie's props 
created by Dick Rubin. Another 
recent licensee is Pocket Books, 
Inc., a division of Simon and 
Schuster. They will be publishing 
Gene Roddenberry's noveliza- 
tion of the movie story and the 
behind-the-scenes book which 
Gene and I are currently working 
on — tentatively titled The Re- 
Making of Star Trek. These will 
be released about the same time 
as the film. Pocket Books has 
also scheduled two other Star 
Trekbooks formid-1979. One, as 
yet untitled, will be a collection of 
sayings from original dialogue in 
the 79 Star Trek television epi- 
sodes, compiled by Fred and Stan 
Goldstein and myself. Another 
book by the Goldsteins will cover 
the history of space flight, from 
the 20th century through Star 
Trek's latest model of the Enter- 
prise. 



James Doohan, who plays 

Scotty, just became the father of a 

baby boy. His wife Wende gave 
birth to eight-pound, six-ounce Thomas Patrick Doohan on Decem- 
ber 20, 1978, at 4:30 in the morning. The Doohans also have a two- 
year-old son, Eric Montgomery. 

Remember David Gautreaux, who was originally signed to play 
the part of the Vulcan, Lieutenant Xon? Well, that part was scrap- 
ped when we shelved the television series planned in 1977, but David 
has just been signed for another role in ST—TMP. He will be play- 
ing a human, however, so the special Vulcan ears that were person- 
ally tailored for him will have to remain on the shelf. 

Teresa Victor, Leonard Nimoy's assistant, is recuperating from 
three broken bones in her heel. She's expected to have to remain in a 
cast for at least five months. She will have an unusual souvenir, 
though — a cast signed by a cast— the entire cast of ST—TMP. 

Finally, Paramount Pictures recently broke precedent by sending 
out bid letters to exhibitors a year before release of Star Trek— The 
Motion Picture. The theater owners received special promotional 
packets, which feature photos, press releases and a special poster. 
Watch for the premiere of Star Trek— The Motion Picture, coming 
December 7, 1979! * 




Sunrise on Venus: These three unenhanced 
images, photographed on Dec. 5, 7 and 10, 
respectively, are all different views of our 
cloudy neighbor planet. 



By ROBIN SNELSON 

ast December 9, Pioneer-Venus II 
probes plummeted through the smelly, 
sulfurous atmosphere of our cloud- 
shrouded neighbor planet. In the hour it 
took for those probes to reach the surface, 
sophisticated sensing instruments on the 
spacecraft obtained a wealth of new infor- 
mation — enough to keep teams' of scientists 
busy for years deciphering the data. 

(Meanwhile, a companion spacecraft 
had slipped into Venusian orbit five days 
earlier. Pioneer- Venus I began transmitting 
pictures back to excited Earth scientists. 
The first three Venus views taken by the 
cloud photopolarimeter are shown here, 
along with a false-color image in far ultra- 
violet light.) 

Most of the news from Pioneer- Venus 
centered around the surprising discovery of 
extremely high levels of primordial argon 
gas in Venus' atmosphere. That discovery 
seems to contradict currendy accepted 
theories of ho w the solar system was formed 
4.5 billion years ago. One scientist was 
heard to joke that perhaps the high argon 
level proves one of Immanuel ( Worlds in 
Collision) Velikovsky's controversial 
theories, namely that Venus was expelled 
from Jupiter's giant red spot and is a 
relative newcomer to the inner-planet 
neighborhood of the solar system. He was, 
however, only joking: If Velikovsky was 
right, Venus' orbit would almost certainly 




)NEER-VENUS CLOSE 

^/MIM TERS 



O 

with the 
CLOUDY 

PLANET 



be highly elliptical, more like that of most 
comets. It is not. 

There was another surprise: The Pioneer 
entry probes were not expected to survive 
impact with the planet surface. But one of 
the four — the Day Probe — did survive and 
kept transmitting for more than an hour 
after it landed. A combination of the 847° F 
temperature and failing batteries finally 
killed it, but NASA scientists were very 
happy with the bonus. 

Just what did the probes "see" as. they 
descended through the dense Venusian at- 
mosphere? Based on early interpretations 
of data, NASA has constructed a picture of 
what a passenger riding the Day Probe 
would observe. (Bear in mind that any hu- 
man passenger's sensory equipment would 
not measure up to the sophisticated scien- 
tific instruments carried on the Venus 
probes. Nor would any human live long 
enough to return to tell the story!) 

Riding the Day Probe from space down 
into the Venusian atmosphere, you would 
first cross the planet's bow shock wave in 
the 1.8-million-degree solar wind, at about 
4,650 miles above the planet surface. Next 
you pass through the turbulent transition 
region before reaching the top of the iono- 
sphere at about 240 miles high. Zooming 
down through the thin upper atmosphere, 
you can see the yellowish, sulfurous clouds 
far below. These clouds, along with the 
dense carbon dioxide atmosphere, reflect 75 
percent of the Sun's light away from the 



planet. 

At an altitude of 90 miles, the clouds ap- 
pear 47 miles below as a dense, smog-like 
haze. Venus' cloud region begins at about 
42 miles above the surface and extends for 
12 miles, with the clouds forming a ceiling 
29 miles above the ground. There are three 
distinct layers of clouds. 

The Sun continues to be visible until 
nearly 41 miles from the surface, where it 
begins to grow dim. Two miles farther 
down, the Sun disappears as a visible disc 
behind a diffuse yellow cloud layer made up 
of tiny sulfuric acid particles. Visibility 
through the high Venusian smog is about 
four miles and the temperature is a cool 55° 
F. This first cloud layer is about five miles 
thick. 

Approximately 35 miles above the sur- 
face, you see a second layer of clouds. This 
layer is also made up of tiny sulfuric acid 
particles, plus slightly larger particles which 
appear to be some form of liquid — and even 
larger particles (10 to 15 microns) which ap- 
pear to be solid chunks of elemental sulfur. 
Here the temperature is warmer (68°) and 
visibility is shorter. You can see for only 
about a mile. The second layer is a little 
more than four miles thick. 

There is a short clear space in the hazy 
cloud layers at about 31 miles high, just 
before you enter the final layer. These are 
the only Venusian clouds dense enough to 
look like typical cloud structures on Earth 
(the others are so dispersed they look more 

25 




Above: Artist's con- 
ception of Venus 
probe, one of four 
that entered the 
hostile atmosphere 
in December. Left: 
Computer image in 
far ultraviolet 
light. The stripes 
are from measuring 
light emitted by 
atomic hydrogen, 
which surrounds the 
planet in a cloud. 



like haze — or yellow smog). In the third 
cloud layer, the atmospheric pressure is 
almost equal to that on Earth's surface. The 
temperature is a searing 395° F, and these 
clouds contain a higher concentration of the 
chunky sulfur particles. The third layer is 
about two miles thick, with almost no visi- 
bility. It ends in a faint haze (similar to the 
top cloud layer) which lasts for a thousand 
feet or so. 

Nineteen miles above the surface, the 
clouds end. The air is suddenly clean of 
particles. Yet the Sun still is not visible. But 
your horizons expand: You can see hori- 
zontally for nearly 50 miles, by the light 
filtering through the clouds. Illumination is 
comparable to a bright cloudy day on 






i. £ ' .A -■■ 





Top: The Pioneer orbiter. 
This drawing shows the 
antenna which will radio 
data back to Earth. The 
orbiter will study the 
upper atmosphere and ion- 
osphere of Venus, along 
with remote sensing of 
the lower atmosphere and 
the surface. Left: The 
multiprobe craft, con- 
sisting of the bus to 
carry the four probes. 
Each probe, 30" in dia- 
meter and weighing 206 
pounds, carried equip- 
ment to measure the 
environment as they de- 
scended to the fiery sur- 
face — only to burn up. 
However, one of the probes 
did continue to transmit 
information for an extra 
hour after impact, an 
unexpected bonus for 
NASA scientists. 



Earth. Temperature rises to about 590° F. 

Almost seven miles farther down, still 12 
miles above the surface, the light becomes 
redder. Because of light scattered by Venus' 
thick carbon dioxide atmosphere, visibility 
drops to about 12 miles — like looking 
through a frosted glass. Six miles nearer the 
surface, the light is very red, illumination is 
gloomy and it keeps getting hotter. By now, 
it's 770°F outside. Four miles high, some 
surface features become visible in the red 
murk below. 

Landing on the surface, where the 
temperature soars to 847° F and there is 
very little light, you cannot tell where the 
Sun is located in the sky. Illumination is a 
lurid red, with much refraction and dis- 



tortion of landmarks. You can see for only 
about three miles in any direction. 

The terrain is relatively flat and very dry 
(sorry, no creature- filled swamps or puddles 
of molten metal, as once thought). The 
ground is covered with a fine layer of red- 
dish dust and the scattered basaltic rocks 
look weathered, with rounded edges. (Is 
that the base of a volcano in the distance? 
Hard to tell ) 

Probes landing on the night side observed 
what seemed to be mysterious glowing fires 
on the surface as the spacecraft emerged 
from the last cloud layer. Sulfur compounds 
on the surface igniting to cause chemical 
fires may be responsible for the eerie glow, 
according to early speculation. Another 



possibility: The glow may have been caused 
by the intensely heated surface of the space- 
craft themselves. Nobody is proposing the 
possibility of friendly Venusians lighting 
welcoming beacons. . . . 

Pioneer-Venus has just begun. Although 
the orbiter is still circling the planet and the 
probes now lie dead on the surface, the 
scientific detective work is just getting 
started. The orbiter will continue to return 
pictures and data for up to a Venusian year 
— eight months — until the Sun comes be- 
tween Earth and Venus and garbles com- 
munications. Scientists will be kept busy for 
quite a while sorting out and analyzing their 
new wealth of information. From Pioneer- 
Venus, the best is yet to come. * 

27 





By DAVID HOUSTON 

"Captain Kirk, you're needed on the bridge. " 
"Lieutenant Starbuck, report to the bridge. " 

Although those two lines of dialogue were written more than ten 
years apart, some things never change. Certainly, any media pro- 
duction that features spacecraft must contain a set of the ship's 
bridge. In many cases, much of the action and story development will take 
place on the bridge, for it is both a command and information center as 
well as a crossroads for passengers and crew. ABC-Universal's Battlestar 
Galactica acknowledges this with the most spacious, complex and intricate 
bridge set ever constructed for an SF production. 

The concept for the set started with Glen Larson's three-hour pilot 
script and his format for the series. "The set was designed like any other 
movie set," says art director Jack Chilberg. "You take the script and plot 
its action patterns, and design a set to accommodate the action that must 
take place in it." 

The Galactica set, though, had unusual requirements and evolved 
through an uneasy development period with frequent changes that 
originated in several brainstorming sessions. 








Designer Chilberg admits to initial design 
uncertainties. "I thought of all those sci- 
ence-fiction movies set in the future — most 
of which didn't work. Either they looked 
too much like the hardware of today, of 
their day, or else they were not credible. My 
biggest problem was: Can I really project the 
future, get out of my own period in history? 
The designers of the past haven't been able 
to do it, and I found that I couldn't do it 
either." 

Chilberg had a further limiting factor. 
John Dykstra's company had completed 
construction of the miniature of the Galac- 
tica before work began on any of the inter- 
ior settings. As form follows function, the 
insides had to mirror the exterior look of the 
ship. This meant that the bridge had to be 
heavy, massive, utilitarian and highly de- 
tailed. 

"This fit in with something we all wanted 
anyway," says Chilberg, "which was to 
avoid the Star Trek supersmooth look." 

Then why go with a circular shape, as 
Star Trek had done? 





A technician peers 
through a display port 
that will house a CRT 
screen. This module is 
just one of many that 
will make up an entire 
display row. Chilberg 
had wanteda bridge 
that looked spacious — 
befitting the enormous 
sizeofabattlestar— 
and complex with vast 
arrays of electronic 
equipment in operation. 




"It isn't circular, not really. The walls are curved — though the individual pieces of 
them are flat — but the whole shape is rather like a pie-shape with the point cut off." 
Chilberg said he was directed toward roughly circular shapes by the simple fact of 
physics that spherical sections and curved walls are structurally stronger — more effec- 
tive for pressurization — than any other shape. "The strongest shape in nature is prob- 
ably the egg," Chilberg says. "Come to think of it, the bridge is pretty closp-ttfegg- 
shaped." 

The most crucial determiner of shape, though, was the story. "The overall shape was 
mainly derived from our knowledge of the number of function^ a bridge has to have, 
combined with the action patterns of the script." Chilberg chose a single shot from the 
script to act as a test; if that shot worked as hoped, then just about any other scene could 
be.accommodated in the set. The test was an entrance by a fighter pilot onto the bridge. 
The camera was to pick him up upon entry and follow him as he made his way through 
the various levels to Adama's command station. "In the process of that one shot, the 
whole bridge set should be seen in the background. ' ' Every sketch and floor plan of the 
set was tested against this shot. 

"As things turned out," Chilberg laughs, "that shot was cut from the film." But it 
had served a worthwhile purpose. 

Once the action patterns had been accommodated and the basic areas were estab- 
lished — the command post, the helmsmen's station, monitoring areas, communica- 
tions, medical monitoring — attention turned to the interior decoration. 

"It had to have a very structural look, " Chilberg insisted . Producer Stevens says, ' 'At 
first, Jack (Chilberg) had huge pillars in it that were riveted and everything, because he 
wanted the feeling that there were thousands of tons of weight up above it. But the 
pillars got in the way of the cameras. Still, Jack wanted to keep them." 

"I also wanted mullions (vertical supports) in that big window," Chilberg sa^sr"**! 
thought it looked unrealistic to have such a large window area unsupported structurally. 
I did a mock-up of the window with and without the internal structures, and Glen 
(Larson) said he liked the open, unsupported look better." 

Chilberg lost the window battle but won the pillar one. ' 'I made the pillars wild (easily 




29 




Above: The area of the bridge that is 
designed for communications, in an early 
stage of construction. Above right: A view 
"above-the-scenes" on the Battlestar set 
shows the complex network of support 
rigging and catwalks for the lighting 
technicians. Right: Tim Neuland, district 
sales manager of Tektronix, installs some of 
the instruments that his firm supplied. 



moved at all." 

Like all solid surfaces, the pillars are en- 
crusted with rivets, conduits and mechani- 
cal shapes. It has become commonplace in 
the TV industry to fabricate such decor 
from available styrofoam packing shapes. 
Nothing so cheap for Galactica\ These 
pieces were specially designed, molded and 
vacuum-formed from hard plastic. "They 
had one vacuum former already," says 
Chilberg, "a small one they were using to 
make the Cylon costumes, helmets and 
other props, but it could not produce the 
large shapes we needed for the set. We had 
to buy a new $40,000 vacuum former for 
the set." 

Chilberg said that a chief design principle 
is that the eye of the viewer will always be 
drawn to the simplest area of the picture. 
Put a man against a solid background and 
the eye will tend to seek out the background 
rather than the man's face. This rule led him 
to "keep the background busy, crammed 
with mechanical pieces, so the eye will seek 
out the faces." 

How was the color for the bridge chosen? 

"I hate to disappoint you," Chilberg 
says, "but it's just World War II battleship 
gray." The neutral color also assists in em- 
phasizing the colors of costumes, faces and 
the eye-catching multi-color instrumenta- 
tion of the various monitoring and piloting 
stations. 

"We studied all sorts of instrument 
panels," says Chilberg. "What we wanted, 
ultimately, was something that looked like 
the instruments in the NASA space 
shuttle. ' ' Unable to design a realistic future, 
they chose to utilize the most futuristic look 
of today. This introduced what turned t>ut 
to be the most frustrating problem of the 
set: how to achieve the "high tech" realistic 
30 



look without spending the whole budget . 

"Jack was a wonderful designer," Ste- 
vens says. "He managed to give us a power- 
ful look and the three or four layers, like a 
theater. It was flashy— but just not realistic 
enough. Then Mickey Michaels entered the 
picture. He's the real hero of the 'high tech' 
look of the bridge." 

Michaels said that from the start he 
wanted to make it look "really real, to use 
the finest equipment available today and set 
it up so it would simulate what such equip- 
ment would really be doing in space." 
Those who thought this an impossible 
dream knew too little about Mickey 
Michaels. 

Michaels had done set decorations for 
707 and 747 'flight decks for the three Air- 
port movies. Ten years ago he was among 
the first to insist upon the use of actual 
medical equipment for TV hospital shows; 
some of the machines he acquired for use 
were so new that letters poured in from doc- 
tors wanting information on them. And he 
is a master at the art of borrowing. 

He telephoned Tektronix, Inc. and told 
them of Galactica's needs — while mention- 
ing publicity and screen-credit advantages 
for Tektronix. 

Tektronix markets a diverse line of com- 
puter hardware in their Information Dis- 
play Group, and has been known for 35 
years as this country's major supplier of os- 
cilloscopes. Some of their equipment is in 
the space shuttle. 

"Show business is not part of our normal 
mode of operation," says Timothy Neu- 
land, district sales manager of Tektronix. "I 
believe this is the first time we have worked 
in conjunction with the motion-picture in- 
dustry." 

Neuland became Michael's "man at Tek- 



tronix." Together they studied the com- 
pany's product lines and selected the sorts 
of instruments that would be useful on the 
bridge— instruments which were supplied 
at no cost to Galactica. 

"We thought about the exposure to a lot 
of people who had never heard of Tek- 
tronix," Neuland explained. "What really 
convinced us to do it, though, was Mickey's 
idea that you can attract and hold a tech- 
nically oriented audience for an extended 
period of time only if you provide for them 
real technical expertise and use the equip- 
ment like it's supposed to be used." 

The layout of the displays was designed, 
committee fashion, by Chilberg, Michaels, 
Neuland and Don Leach (who is in the test- 
ing and measurement department of Tek- 
tronix). "From this jam session," Neuland 
explained, "we ended up with a rather large 
arena filled with measuring and testing 
equipment. The bridge is the heart of this 
mile-and-a-half long spacecraft. We 
wanted to simulate all the various aspects of 
the ship— life support, weapons control, 
damage report, communications — any- 
thing you can think of." 

The "brain" of the Tektronix system 
consists of ten small computers and a larger 
one specifically for generating animation. 
The images that can be chosen for any given 
display— or shifted from one display to an- 
other — are stored on magnetic discs; this in- 
cludes the show's ' 'War Book" in which are 
stored all the configurations of the various 
vehicles Viper pilots might encounter. 
When Captain Apollo's on-board com- 
puter (purely fictitious) identifies an ap- 
proaching Cylon fighter, the War Book 
supplies him with a blueprint of the type of 

(continued on page 53) 




end.Geat 



SUPERMAN 



Superman— The Movie is 
unquestionably the grandest, 
most expensive, most spectacular 
media event ever to happen, 
and the film's $1500-a-seat 
gala benefit/premiere in 
Washington, D.C. , was 
no exception. 



iman 



•Supe 1 



CW« 

By MICHAEL CATRON 

It wouldn't have been the world premiere 
without him. Rising a full head taller than 
the assembled diplomats, dignitaries, 
members of Congress, newsmen, and 
Washington, D.C. , socialites, 26-year-old 
Christopher Reeve moved gracefully 
through the crowded reception hall of the 
John F. Kennedy Center for the Perform- 
ing Arts. On December 10, 1978, the Ken- 
nedy Center was the place to be. 
President Jimmy Carter was there, as was 





DC exec Harrison & Creator Shuster . 



Senator Edward Kennedy, Barbara 
Walters, Caroline Kennedy, Art Buchwald 
and hundreds of other important and/or 
beautiful people. But their eyes and every- 
one else's were focused on the tall young 
man with the square-cut jaw. The night 
belonged to him — to Chris Reeve... to 
Superman. 

The world premiere — The Presidential 
Premiere — of Superman — The Movie was 
both elegant and tacky at the same time. It 
was, first and foremost, a media" event. 
Officially it was a benefit for the Special 
Olympics, a charity founded by the Ken- 
nedy family. Attendees paid up to $1500 a 
seat (tax deductible) for the privilege of be- 



O'Donoghue (I), Kidder, Donner. 

ing among the first to see the movie (which 
had, in fact, been shown free the night 
before to a not-terribly-select audience of 
press and invited guests). It appeared that 
most of the formally attired celebrants were 
really there to be seen or, more importantly, 
to be photographed at the event of the 
season. 

On hand to greet the guests were Super- 
man stars Gene Hackman, Christopher 
Reeve, Margot Kidder, Phyllis Thaxter and 
Marc McClure. Also present, and trying 
not to look nervous, were director Richard 
Donner, producer Pierre Spengler, and 
executive produce? llya Salkind. And in one 
secluded corner of the hall, filled with pride 
but at the same time a little awed by all the 
activity, stood Joe Shuster, co-creator of the 
character who had gripped the world's 
imagination and inspired the evening's 
madness. 

It was indeed a memorable evening for 
those who attended the premiere. Chris 
Reeve, obviously relishing the acclaim he 
was getting from everyone (most of whom 
hadn't yet seen the film), was cordial, even 
gracious, pausing to sign autographs and 
talk with almost everyone who approached 
him. But still, there was something about 
the way Reeve carried himself that caused 



people to approach him with great respect 
and wonder. Damn it, he looked like 
Superman. 

Reeve revealed that other Hollywood 
producers were clamoring for him, even 
though few people outside Warner's and 
the Salkind organization had seen the film. 
"But right now I'm Superman until proven 
otherwise," he told a group of reporters. 

Director Donner, too, moved around 
signing autographs and talking to reporters. 
At one point, he reassured a nervous 
Margot Kidder (there with former Saturday 
Night Live writer Michael O'Donoghue) 
that the audience would love her as Lois 
Lane. Kidder smiled, but said little. 

Then it was time for the film to begin. 
President Carter arrived, to be greeted by 
Reeve, and the crowd moved into the Ken- 
nedy Center's Eisenhower Theatre for the 
actual screening. When they emerged, some 




Jimmy Olson portrayer Marc McClure. 

two hours and 15 minutes later, Reeve drew 
an ovation from the audience that rivalled 
Carter's, a point that drew broad smiles 
from the contingent of Warner executives 
who were there. * 

31 



Gerry Anderson's 




Edited By DAVID HIRSCH 



The Birth of 
'Starcruiser A" 



For many years key vehicles in my pro- 
ductions have been successfully mar- 
keted under license throughout the 
world, in the main by my business partner, 
Keith Shackleton. 

Most toy companies believe, and for 
good reason, that they should only pay 
royalties on specially designed toys that are 
going to have prolonged television ex- 
posure. However, over the years we have 
found that toys based on our television pro- 
gramme have sold extremely well in terri- 
tories where the programme has not been 
shown, and it was this that led Keith and I to 
the notion that a highly original toy could be 
licensed and sell in its own right. Keith 
approached Airfix and put this point of 
view to them. They saw the wisdom of the 
thinking and, being a highly progressive 
company, decided to go along with us on 
this unusual approach. 

As a result, Starcruiser I was designed. 
Intentionally unique in concept, Starcruiser 
breaks down into four independent opera- 
tional units. Fully assembled the Starcruiser 
spaceship has an aura of authenticity, 
perhaps anticipating the shape of things to 
come. 

It is now ready for release and only the 
other day Keith was delighted to report that 
the initial reactions from the trade have 
been fantastic — to the extent that a Star- 
cruiser 2 is now in development. 

— Gerry Anderson 



Readers are invited to send their 
questions and topic ideas to Gerry in 
care of starlog. Although personal 
replies, requests for materials, etc., 
are impossible, letters of general interest 
will be selected for printing in future 



Gerry Anderson's Space Report 

STARLOG Magazine 

475 Park Avenue South, 8th Floor 

New York, NY 10016 




Starcruiser 1 is the first in a series of spacecraft designed for the exploration of deep spaced 



This small multi-unit spacecraft has 
been designed for faster-than-light 
travel. Smaller than any conventional 
craft, it is the product of a spectacular 
breakthrough in micro-technology. For ex- 
ample, the life-support system is one- 
tenth the size of a standard system used in 
a similar sized craft, but it is twice as effi- 
cient as the units used aboard the giant 
battlecruisers. 

While standard chemical rockets pro- 
vide propulsion in planetary atmosphere 
and sub-light travel, the Starcruiser 1 ob- 
tains its faster-than-light propulsion from a 
new, top-secret, Kryten Reactor which is 
powered by laser-fusion, using pellets of 
deuterium as fuel. A single, yet massive 
burst from the engines, tied in with the 
production of a force-field from a series of 
field generators placed around the craft, 
send the Starcruiser into hyperspace at 
speeds unattainable by any known craft. 
Its exact performance is classified. 

Starcruiser 1 is made up from four 
modules, each with the capability of inde- 
pendent operation. All modules are equip- 
ped with their own power plants, life- 
support systems, and emergency survival 
supplies. 



1. COMMAND MODULE 

When attached to the main body, this 
unit is the pilot section of Starcruiser 1 . 
There are two seats for the pilot (Mis- 
sion Commander) and the copilot 
(Navigator). The command module is 
capable of flight within planetary 
atmosphere and can cross a short dis- 
tance of space (about the average dis- 
tance between a planet and- its 
moons). The Command Module can be 
piloted by manual, computer or 
remote control. The two large direct- 
vision ports, like all direct-vision ports 
installed on the craft, automatically 
darken or lighten their tint to adjust to 
the amount of sunlight being projected 
toward the craft to prevent blindness. 
The cabin can be decompressed for 
extra-vehicular activity. 

2. INTERCEPTOR UNIT 

This small, high speed, one-man craft 
is used in the event defensive action 
must be taken. Starcruiser 1 is as- 
signed to explore a relatively unknown 
section of the galaxy and the chance of 
encountering hostile life cannot be 
avoided. Like the Command Module, 
the Interceptor Unit can be flown 



32 





INTERSTELLAR COMMAND 
TECHNICAL PROFILE 



J 



^Starcruisfr 



manually or by remote control from the 
Main Unit. Fuel for this twin rocket- 
powered craft is monatomic hydrogen 
(single h). In compliance with inter- 
stellar law, the main defensive weapon 
is the neutropedo — an energy absorp- 
tion device mounted on a guided 
missile which can neutralize a space- 
craft's reactor. This effect is temporary 
and can be controlled from all Star- 
cruiser 1 modules. With the enemy's 
weapons and power units shut down, 
the Starcruiser crew can take action 
without harming anyone. Since Star- 
cruiser 1 is equipped with a Kryten 
reactor instead of a standard reactor 
unit, the neutropedo cannot be turned 
against the ship. The neutropedo's are 
launched from the four weapons pods 
on the side. Laser cannon are built into 
the tip of each of the pods which can 
be launched in pairs and remotely con- 
trolled. Typical flight pattern for the 
Interceptor Unit is 15 minutes journey 
time, 3 minutes combat time, fully 
armed. 

3. COMMAND BASE 
Normally attached to the Main Unit, it 
acts as a combination laboratory and 
equipment bay. A typical payload 
would be two scientists in the forward 
section, together with a crawler survey 
vehicle and one-man Skycar for aerial 
reconnaissance in the rear cargo bay. 
The Command Base is equipped with 
caterpillar tracks for crossing most 
types of terrain. The unit can be picked 
up by the Main Module from a typical 
planetary surface in less than 30 
seconds. 



4. MAIN UNIT 

Ski-equipped, this is the unit that acts 
as the thruster for Starcruiser 1's 
faster-than-light journeys and as the 
power base for other modules (cur- 
rently under design) required for- 
special mission. The Main Unit can be 
piloted in both atmosphere and space 
from a one-man cockpit above the 
nose. Wing rockets supply power for 
both atmospheric and orbital flight 
(where only chemical rockets can be 
used) while the seven engines at the 
rear supply the interstellar drive. 
Starcruiser 1 is currently under the 
authority of Interstellar Command, an 
organization set up by the planets en- 
gaged in intergalactic trade, as a type of 
police and scientific exploration group. 
The headquarters of the division for which 
Starcruiser 1 was developed is located in 
the Capricorn-Antillies space habitat. 



Crew Assignment For Starcruiser 1 

Mission Commander: 
Capt. Christopher Stevens 

Navigator/Astrophysicist: 
Lt. Andrea Dehner 

Medical Officer: 
Dr. Brian Moore 

Technical Officer: 

Prof. Melita Alterra (Also responsible 
for the design & construction of Star- 
cruiser 1.) 

Head of Interstellar Command: 
Cmdr. Edward Damion 

TEXT: ©1979 Gerry Anderson Marketing Limited 



INTERCEPTOR UNIT 




MAIN UNIT 



COMMAND MODULE 



COMMAND BASE 



33 




By TED MICHAEL HRUSCHAK & RICHARD MEYERS 







In the summer of 1964, a producer named 
Gene Roddenberry brought a science-fic- 
tion concept to the executive offices of 
CBS television. For two hours he sought to 
convince them that a science-fiction series 
could appeal to a mass audience and be pro- 
duced within a reasonable budget. Then, 
according to Stephen E. Whitfield in the 
Ballantine paperback, The Making of Star 
Trek, the meeting went like this: 

"At the end of the two hours, and after 
having been questioned closely by most of 
those present, he [Gene] thought he had 
sold them. Then they said, 'Thank you very 

34 



much. We have one of our own that we like 
better. But we appreciate your coming in. ' ' ' 

CBS' show was Lost in Space. And its 
similarity to Roddenberry's groundbreak- 
ing blockbuster— Star Trek— didn't end 
with the network's initial interest. Both 
shows premiered in the mid-60s, both lasted 
three seasons. Together, they laid the foun- 
dation- for the next decade of televised 
science fiction. And both shows still have 
active and vocal legions of fans which, 
through the wonders of syndication, get 
larger each year. 

Much of the success and reputation of 



Lost in Space can be attributed to Irwin 
Allen, the producer/writer/director who 
conceived the program's pilot as the follow- 
up to his popular Voyage to the Bottom of 
the Sea. Allen came to television by way of 
semi-instructional films and fantasy flicks. 
Since 1950, he has produced moneymaking 
movies on a regular schedule. 

In 1950, Allen produced The Sea Around 
Us, followed by The Animal World'm 1956 
and The Story of Mankind in 1957. By 
1964, Allen had topped his growing list of 
hits with the video version of his feature 
film, Voyage to the Bottom of the Sea, and 





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Marta Krtsten and Mark Goddard 
pose with the everpresent robot. 





Angela Cartwright was a profes- 
sional child star on series TV 



Guy Williams is familiar to all 
TV watchers from his Zorro days. 



Children of the 1960s 
were fortunate 
enough to have been 
on hand when a 
groundbreaking 
science- fiction show 
premiered. It caught 
the country's attention 
and introduced con- 
cepts that became SF- 
TV staples in the 
decade that followed. 
Although it was can- 
celed after three 
years, thanks to 
syndication it's still 
going strong. 



started looking for a new challenge. He 
finally found it on the comic book stands. 

Gold Key Comics had started publishing 
Space Family Robinson in December of 
1962, detailing the adventures ofa family of 
futuristic castaways. On the mammoth 
Space Station One, father Craig, mother 
June and children Tim and Tarn fought off 
a hostile Universe. The intrepid Allen saw a 
way of translating that classic concept to 
profitable programming. 

He began by writing a two-hour pilot film 
initially taking its name from the comic. He 
changed the Robinsons' first names to 



John, Maureen, Penny and Will, then, for 
further romantic interest, added a second 
daughter, Judy, and a handsome co-pilot, 
Colonel Don West. For relevance sake, he 
dubbed their spaceship Jupiter Two and to 
add color, introduced a nameless robot 
capable of anything his plot desired. 

Shortly thereafter, the Roddenberry- 
CBS scene was played out and Allen got the 
go-ahead to start production. He began by 
casting Guy Williams, known to millions as 
Walt Disney's Zorro, as John, and June 
Lockhart, the heartthrob of the Lassie set, 
as his wife. Following in their footsteps were 
Angela Cartwright as Penny, Billy Mumy as 
Will, Marta Kristen as Judy and Mark God- 
dard as Don. 

Although they all had acting experience 
prior to their signing, several cast members 
were virtual unknowns, and since the 
show's cancellation, all have gone their 
separate ways. Recently, however, Angela 
Cartwright returned to Irwin Allen's 
employ by acting in his new disaster picture, 
Beyond the Poseidon Adventure. It was on 
the Poseidon set that Cartwright shared 
some of her Lost in Space memories with 

STARLOG. 

"I was 13 by the time I finished The 
Sound of Music," she remembers, "and Ir- 
win called me in to talk about the new show 
he was doing. I hadn't had any experience 
with science fiction before that, but the 
original pilot script was so good that I 
wanted to go ahead and do it. He said, 'I'd 
like you for the part,' so that was that." 

The six leads, plus John May, contribut- 
ing the voice of the robot, plunged into the 
pilot film with relish. As initially written, it 
was fun-filled, effects-laden and dramat- 
ically sound. 

"The pilot was jam-packed with action 
and creativity," Cartwright reveals. "There 
was an earthquake and a whirlpool and, of 
course, the shipwreck. The robot was there 
and everybody on the show was supposed 
to be intelligent. As far as I can remember, I 
really enjoyed myself." 

The network brass enjoyed themselves 
too — so much so that they gave the green 



light for the series to go into production. 
But somewhere along the line, things 
changed. 

By the time the first script was ready to 
shoot, there was a new member of the cast 
and the pilot film had been subdivided. 
Ironically, although it was the pilot that sold 
the show, it was never aired and the cast and 
plot had changed by the time the first epi- 
sode was televised. Dr. Smith, the Jonathan 
Harris character, was inserted into the 
show's format at the last possible moment. 
And even then he was a cold, ruthless killer 
who made several unsuccessful attempts to 
murder the Robinsons — vastly different 
from the role he would soon make famous. 

"Nowadays they show the pilot on tele- 
vision," the actress explains. "But they 
didn't then. Instead, they divided it into six 
parts. They took each major occurence and 
built scripts around them. Then they intro- 
duced Jonathan Harris as Dr. Smith. I 
haven't the slightest idea why or how his 
character was conceived, but once we 
started, everybody got along fine." The 
original pilot served as the basis for episodes 
number 1, 2, 3, 4, 5 and 8. 

"Penny didn't change much from the 
pilot to those six shows. She was on the mis- 
chievous side and yet very intelligent 

She was basically just a 'regular kid.' Every 
once in a while she wanted to be back home 
(on Earth) with everyone else, but for the 
most part, I think she just enjoyed her ex- 
periences." 

The newly titled Lost in Space premiered 
on CBS September 15, 1965, and was there- 
after seen Wednesday nights at 7:30. The 
response was almost immediate. School- 
aged children loved the adventure and the 
cliff-hanger endings, while college kids ate 
up the slick special effects and the well- 
handled technology. That look was accom- 
plished by the talented team of designer/ 
builder Robert Kinoshita and special-ef- 
fects artists L.B. Abbott and Howard Ly- 
decker. 

Kinoshita, who contributed to Forbid- 
den Planet's Robby the Robot, was called 
on to construct the full-sized robot and the 

35 



Jupiter Two model. Originally both were 
going to be mock-ups, since the initial pro- 
duction plan called for half a robot which 
would only be filmed from the waist up. 
Thankfully, logical heads prevailed and 
Kinoshita built a worthy companion to 
Robby. 

Over six feet tall, it featured moving gears 
in a glass dome, accordian-pleated arms 
with movable claws, a voice-activated light 
grid, an array of blinking lights', and "feet" 
which could move either independently or 
on motorized tracks. The Jupiter Two was 
less complex but just as functional. The ef- 
fects of it slicing through space or swooping 
over a planet's surface are still impressive 
for their smoothness. 

What wasn't impressive was the change 
in approach after the first season of 29, 
60-minute black-and-white episodes had 
aired and raked up strong NeUsen ratings. 
The first season started out as straight ac- 
tion-adventure and then shifted — almost 
unnoticably — into space opera laced with 
fairy-tale morals. It also employed the 



"I remember every day at four o'clock 
Jonathan would buy Tootsie Roll Pops by 
the gross and hand them out to everybody. 
He did that every single day. So if it came 
around to that time and we were doing a 
shot, we had lollipops in our mouths. At the 
dailies you always caught us sticking them 
in our mouths at the end of a take or pulling 
them out at the beginning of one." 

Although the actress recalls that the en- 
tire troupe was composed of dedicated pro- 
fessionals who respected each other, some 
were distressed enough by the situation to 
bring their complaints to executive pro- 
ducer Allen. It wasn't that they disliked 
Harris or his performance; they were wor- 
ried about their own futures. Allen report- 
edly settled the concerns by "breaking up" 
the cast for the third season. That is, con- 
centrating on different leads each week with 
stories designed around them. 

Still, several things that didn't change 
were Dr. Smith's foolishness and the gener- 
ally inane plotlines that permeated the latter 
part of the series. 




From " Mutiny in Space, ' ' Year Two. This space farce spoofed Mutiny on the Bounty. 



"cliffhanger" ending, where the picture 
would freeze-frame and the words "To Be 
Continued Next Week— Same Time, Same 
Channel" were superimposed. 

The second season brought full color to 
the series, along with character changes that 
would ultimately contribute to the show's 
demise. Strangely, the Dr. Smith character, 
who had been, at first, a cold-blooded sabo- 
teur, then a reluctant stowaway and trepi- 
dacious ally, became a comedy-spouting 
buffoon. What had been a fairly straight- 
forward adventure show became a silly 
romp with Dr. Smith in the forefront. Sadly, 
the writers' concentration on the villain's 
character began to wear thin on the other 
stars. 

"Whatever the personal problems there 
were on the set as the show wore on didn't 
effect me," Cartwright says. "I'm sure the 
leads would have liked to be leads because it 
did become, sort of, Jonathan's show. But 
it never bugged me, because really, 
Jonathan was such a super guy. 
36 



"I don't know the reason for the sudden 
change to almost total fantasy, ' ' Cartwright 
admits. "In the beginning we started off as 
a very serious show. It was a definite drama. 
It may have changed because Star Trek 
cameon. Maybe they were trying to stay in a 
lighter vein because of the seriousness of 
that." 

Another popular theory proposed is that 
Lost in Space had jumped on the Batman 
bandwagon, a more popular series of the 
time. Premiering the same year as Star 
Trek, 1966, the adventures of the "Caped 
Crusader' ' were played as high camp, a style 
Allen's show seemed to be emulating. By 
the time the third season was well on its way, 
the program almost resembled a fantastic 
dream, with creatures of all types and with 
every ability doing anything within the 
realm of imagination. There seemed to be 
no rhyme nor reason left; bug-eyed 
monsters, pirates, magicians, ghosts, sul- 
tans and cowboys appeared and disap- 
peared with equal abandon. While this 



chaos raged around them, the cast tried to 
keep calm with various minor diversions. 

"Every once in a while we'd do some- 
thing offbeat," Cartwright recalls. "Re- 
member The Invaders! On that show, all 
the aliens used to walk around with stiff 
pinkies. Well, there was a scene where June, 
Marta and I had to stand around. We spent 
this enormously long scene lined up in a 
row, not doing anything. So we all decided 
to play the entire thing with our pinkies out. 
I can't remember which episode it was, but 
if you watch for it, you'll see it. All our 
pinkies were showing." 

The third and final season for Lost in 
Space began with cast problems, script 
problems, a new theme and revamped 
opening credits, as well as a new vehicle, the 
Space Pod. This was a two-to-three pas- 
senger vehicle which looked curiously like 
the LEM (lunar excursion module) that 
landed on the Moon two years later. The 
third season also saw the loss of the cliff- 
hanger ending and, unfortunately, what re- 
mained of the script continuity. Inter- 
mingled with episodes of broad farce and 
grand silliness were cleverly written spoofs 
and satires of classic and current SF shows, 
films and themes. This gave the series a dis- 
tinctly schizophrenic character and caused 
confusion among its legions of followers. 

The final death knell for the program's 
credibility rang in the second-to-last epi- 
sode. Entitled ' 'The Great Vegetable Rebel- 
lion," it detailed the exploits of a giant car- 
rot that turned Dr. Smith into a talking stalk 
of celery. At that point the production 
slowed down, the audience started to drop 
of f and the actors werepulling their hair out. 
"You know," Cartwright says, "writers 
do their job and actors interpret it. You 
really can't stop and think about it. You 
have to be convincing or the audience won't 
buy it. You just can't think about talking to 
a giant piece of celery or a pea pod or what- 
ever. You have fun and hang in there. I used 
to go in and just do my part. I did whatever 
they put in front of me." 

In 1968, the last new Lost in Space epi- 
sode aired. Officially, the show was dead 
and the cast and crew went on to other 
things. Since then, Irwin Allen has pro- 
duced The Towering Inferno and The 
Swarm, Angela Cartwright moved on to 
Make Room for Granddaddy and com- 
mercials, Billy Mumy co-starred in the 
series Sunshine and is now living the life of a 
musician in San Francisco. Of Marta Kris- 
ten, Mark Goddard and Guy Williams, not 
much is heard. As for Jonathan Harris, he 
can be heard almost every week on Battle- 
star Galactica as the voice of Lucifer. 

But Lost in Space lingers on. During its 
initial airing the show played in 1 14 coun- 
tries. But somewhere, today and every day, 
a syndicated episode is aired. And each of 
the participants still gets fan mail. 

"I just want to say that it's really neat 
that the fans are still out there and active," 
Angela Cartwright says. "It's really very 
nice to be associated with a show where the 
fans last over 1 1 years. Thank you." 



LOST 



SPACE 



Complete Episode Guide 



Researched and Compiled by TED MICHAEL HRUSCHAK & RICHARD MEYERS 



CAST 



Professor John Robinson Guy Williams 

Maureen Robinson June Lockhart 

Don West Mark Goddard 

Judy Robinson Maria Kristen 

Will Robinson Billy Mumy 

Penny Robinson Angela Cartwright 

Dr. Zachary Smith Jonathan Harris 

Bob May , Robot 

CREW 

Creator Irwin Allen 

Producer Irwin Allen 

Executive in Charge of Production for Van Bernard Guy Delia Cioppa 

In Charge of Studio Production William Self 

Associate Producer | Jerry Briskin (Year 1) 

William Faralia (Years 2 & 3) 

Story Editor Anthony Wilson 

Director of Photography Gene Polito(Year 1) 

Frank Carson, (Years 2 & 3) 

Special Effects LB. Abbott, ACS 

Howard Lydecker (Years 1 & 2) 

Music John Williams, Herman Stein, Leith Stevens, 

Robert Drasnin, Gerald Fried, Alexander Courage, 
Cyril Mockridge, Mullendore 

Music Supervision Lionel Newman 

Art Directors Walter M. Scott & Sven Wickman (Year 1), 

Jack Martin Smith & Robert Kinoshita (Year 2), 

Jack Martin Smith & Frank O. Bamett (Year 3) 

Costumes Paul Zastupnevich 

NOTE: The number preceeding each episode title is the episode's production number. It is used by syn- 
dicators to determine the order in which the episodes are to be aired. Note that it is not exactly the 
order in which CBS aired the show, nor is it necessarily the order in which local stations are currently 
playing it. 





Above: Cartwright 's portrayal of Penny was a combination of youthful innocence and curiousity. Right: Smith in trouble, again. 



37 



YEAR 1: 

29 EPISODES 

(Block 6 White) 

#8501 THE RELUCTANT 
STOWAWAY 

Air date: 9(15/65 
Writer: S. Bar David 
Story: Shimon Wincelberg 
Director: Tony Leader 
Guest Cast: Don Forbes (TV 
Commentator), Hal Torey (General), 
Byron Morrow (Lt. General Squires), 
Hoke Howell (Sgt. Rogers), Brett Parker 
(Security Guard), Irwin Allen (Voice of 
President). 

In 1977, America's first test-colonization 
mission to Alpha Centauri is sabotaged 
by a foreign spy, who programs the 
ship's robot to destroy the vessel follow- 
ing launch. The plot backfires when the 
saboteur, unable to undo the damage he 
has done, becomes trapped on board 
himself. 

#6502 THE DERELICT 

Air date: 9/22/65 
Teleplay: Peter Packer 
Story: Shimon Wincelberg 
Director: Alex Singer 
Guest Cast: Don Forbes (TV 
Commentator), Dawson Palmer (Giant). 

Hopelessly lost, Jupiter 2 is pulled into 
the maw of a giant alien spaceship. 
While John and Don search the interior 
for star maps and equipment, Will and 
Col. Smith come across the ship's alien 
inhabitants. 

#6503 ISLAND IN THE 
SKY 

Air date: 9/29/65 
Teleplay: Norman Lessing 
Story: Shimon Wincelberg 
Director: Tony Leader 

While spacewalking, John's parajets 
misfire and he plummets toward the 
planet below. Don tries to go after him 
with Jupiter 2, but Smith's sabotage 
causes the retro-rockets to fail, and the 
ehip crashes onto the alien planet. 

#6504 THERE WERE 
GIANTS IN THE EARTH 

Air date: 10/6/65 

Teleplay: Carey Wilbur 

Story: Shimon Wincelberg 

Director: Leo Penn 

Guest Cast: Lamar Lundy (Giant) 

John discovers that the planet the Robin- 
sons are living on will soon drift far from 
its sun and freeze over. The Robinsons' 
preparations to abandon ship and head 
south are hampered by the appearance 
of a giant carnivorous cyclops monster. 

#6505 THE HUNGRY SEA 

Air date: 10/13/65 
Teleplay: William Welch 
Story: Shimon Wincelberg 
Director: Sobey Martin 

After traveling south through ice and 
earthquakes, the Robinsons find that 
their eccentric orbit will carry them back 
toward the sun. They head the Chariot 
back to the spaceship, encountering fire 
and floods along the way. 

#6506 WELCOME 
STRANGER 

Air date: 10/20/65 

Writer: Peter Packer 

Director: Alvin Ganzer 

Guest Cast: Warren Oates (Jimmy 

Hapgood) 

The Robinsons help repair the ship of 
another lost traveler from Earth. Since 




From the Year Two episode, "The Golden Man." Smith learns that beauty is only skin deep. 



he stands a good chance of making it 
home, John and Maureen ask him to take 
Will and Penny with him when he leaves. 
Smith, however, has other plans. 

#8507 MY FRIEND, 
MR. NOBODY 

Air date: 10/27/65 
Writer: Jackson Gillis 
Director: Paul Stanley 
Guest Cast: William Bramley 
(Mr. Nobody) 

Penny befriends a disembodied life force 
living in a cave below the planet's sur- 
face. When Smith accidentally Injures 
Penny, the mysterious unknown force 
unleashes its wrath across the entire 
planet, until Penny intervenes . . . and 
the life form undergoes a magical 
transformation. 



#8508 INVADERS FROM 
THE FIFTH DIMENSION 

Air dates: 11/3*5 & 8/32/66 
Writer: Shimon Wincelberg 
Director: Leonard Horn 
Guest Cast: Ted Lohmann (Alien), 
Joe Ryan (Luminary) 

Aliens capture Smith, planning to replace 
their burnt-out computer with his brain. 
Smith offers to bring them one of the 
Robinsons instead, and sets about plot- 
ting to trick Will into coming with him. 

#8509 THE OASIS 



Air date: 11/10/65 
Writer: Peter Packer 
Director: Sutton Rbley 

Smith eats an alien food before it can be 
tested, causing him to grow into a giant. 
Convinced that the Robinsons were 
deliberately trying to kill him, Smith plots 
a fatal revenge. 

#8510 THE SKY IS 
FALLING 

Air date: 11/17/65 

Writers: Barney Slater & Herman Groves 

Director: Sutton Roley 

Guest Cast: Don Matheson (Retho), 

Francoise Ruggieri (Moela), Eddie Rosson 

(Lunon) 

The Robinsons find themselves unable to 
understand the electronic language of a 
visiting space family. 

#8511 THE RAFT 

Air date: 12/1/65 

Writer: Peter Packer 

Director: Sobey Martin 

Guest Cast: Dawson Palmer (Bush 

Creature) 

A small "lifeboat" is constructed to carry 
two of the Robinsons back to Earth. 
Smith clumsily launches it while he and 
Will are aboard, and it makes a safe en- 
try and landing, but on what planet? 

#8512 WISH UPON A 
STAR 



Air dates: 1 1/24/65 & 9/7/66 

Writer: Barney Slater 

Director: Sutton Roley 

Guest Cast: Dawson Palmer (Rubberoid) 

Banished from the Robinson camp, 
Smith takes refuge in the wreck of an 
alien spaceship, where he finds a 
machine that can make wishes into reali- 
ty. In return for being permitted back into 
camp. Smith donates the device to the 
Robinsons . . . and it begins to play on 
their greeds. 

#8513 ONE OF OUR 
DOGS IS MISSING 

Air dates: 12/8/65 & 8/24/66 

Writer: William Welch 

Director: Sutton Roley 

Guest Cast: Dawson Palmer (Mutant) 

Growling sounds are heard in the night, 
and Jupiter 2's food supply is raided. The 
Robinsons can't decide whether it's the 
dog they found in a suspended-animation 
test ship, or something more. 

#8514 ATTACK OF THE 
MONSTER PLANETS 

Air dates: 12/15/65 & 5/4/66 

Writers: William Read Woodfield & Allan 

Baiter 

Director: Justis Addiss 

Giant cyclamen plants — which 
duplicate anything put into them — 
create an exact replica of Judy. While 
Smith refuses to tell John the location of 
the real Judy, the plant-replica feeds the 



38 





cjrfcamen all of Jupiter 2's deutronium 


Writer: Carey Wilbur 








fael. 


Director: Sobey Martin 

Guest Cast: Albert Salmi (Tucker) 




#6515 RETURN FROM 


Will is kidnapped by, and later becomes 




OUTER SPACE 


friends with, a space pirate who is being 
pursued by a creature from another 




Air dates: 12/29/65 & 5/11/66 


galaxy. 




Writer: Peter Packer 






Director: Nathan Juran 

Guest Cast: Reta Shaw (Aunt Clara), 


#8519 GHOST IN SPACE 




Walter Sande (Sheriff Baxendale), Donald 


Air dates: 2/2/66 & 6/8/66 




Loxby (Davey Sims), Sheila Mathews 


Writer: Barney Slater 




(Ruth Templeton), Helen Kleeb (Phone 


Director: Sobey Martin 




Operator Rachel), Robert Easton (Lacy), 


Guest Cast: Dawson Palmer (Uncle 




Harry Harvey, Sr. (Graver), Ann Dore (first 


Thaddeus) 




Select-person), Keith Taylor (Theodore), 






Johnny Tuchy (First Boy) 


Dr. Smith throws an explosive into a 
gaseous bog, creating an invisible, 




Will uses the Taurons' maser device to 


destructive force. While the other Robin- 




send himself back to Earth. When he ar- 


sons look for some way to capture the 




rives, nobody will believe that he is a 


thing, Smith plans to exorcise the force, 




Robinson, or that his family is ship- 


which he believes is the poltergeist of his 




wrecked on an alien planet. 


uncle Thaddeus. 




#8516 THE KEEPER 


#8520 THE MAGIC 




(Port 1) 


MIRROR 




Air dates: 1/12/66 & 5/18/66 


Air dates: 2/16/66 & 6/22/66 




Writer: Barney Slater 


Writer: Jackson Gillis 




Director: Harry Harris 


Director: Nathan Juran 




Guest Cast: Michael Rennie (Keeper), 


Guest Cast: Michael J. Pollard (Alien Boy) 




Wilbur Evans (Lighted Head) 


Penny falls "through" an alien mirror and 




The Robinsons are suspicious of an in- 


into a nightmarish world inhabited by a 




tergalactic zookeeper when he seems to 


nameless boy and a monster. The pro- 




view them more as specimens than as 


blem: it is impossible to get out again. 




humans. Their suspicions are well- 






founded. The Keeper wants Will and 






Penny. 


#8521 THE WAR OF THE 
ROBOTS 




#6517 THE KEEPER 


Air dates: 2/9/66 & 6/15/66 




(Port 2) 


Writer: Barney Slater 
Director: Sobey Martin 




Air dates: 1/19/66 & 5/25/66 


Guest Cast: Robby the Robot (Robotoid) 




Writer: Barney Slater 






Director: Harry Harris 


Will repairs a deactivated robotoid ... a 




Guest Cast: Michael Rennie (Keeper) 


robot with a will of its own. It helps the 
Robinsons with their chores, but secretly 




Hoping to steal the alien's spaceship, Dr. 


it is planning to kidnap for them its 




Smith accidentally unleashes the 


master on an alien planet. 




Keeper's animals instead. The Keeper 






now has a threat to level: He will not 
recall his dangerous animals unless the 


#8522 THE CHALLENGE 


Robinsons give him Will and Penny. 


Air dates: 3/2/66 & 6/29/66 






Writer: Barney Slater 




#6518 THE SKY PIRATE 


Director: Don Richardson 

Guest Cast: Michael Ansara (Ruler), Kurt 




Air dates: 1/26/66 & 6/1/66 


Russell (Quano) 




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"A visit to Hades," Year Two. Smith escapes the jaws of hell. 



An alien boy from a highly aggressive 
civilization challenges Will to a duel of 
strength and courage. Neither Will nor 
his family knows that if Will wins, he and 
his family will be destroyed. 

#8523 THE SPACE 
TRADER 

Air dates: 3/9/66 & 7/6/66 

Writer: Barney Slater 

Director: Nathan Juran 

Guest Cast: Torin Thatcher (Trader) 

When a space merchant attempts to 
drum up business by destroying the 
Robinsons' food supply, a hungry Smith 
promises to will his body to the trader in 
200 years in exchange for food. The fine 
print, unfortunately, allows the trader to 
collect immediately. 

#8524 HIS MAJESTY 
SMITH 

Air dates: 3/16/66 & 7/13/66 

Writer: Carey Wilbur 

Director: Harry Harris 

Guest Cast: Liam Sullivan (Nexus), Kevin 

Hagen (The Master) 

Smith is selected to be the king of an 
alien civilization, but only later finds the 
reason— the aliens select only the most 
useless creatures of the Universe, to be 
sacrificed to their primitive gods. 

#8525 THE SPACE 
CROPPERS 

Air dates: 3/30/66 & 7/20/66 

Writer: Peter Packer 

Director: Sobey Martin 

Guest Cast: Mercedes McCambridge 

(Sybilla), Sherry Jackson (Effa) 

Hoping to get back to Earth, Smith 
romances the mother of a clan of space 
hillbillies, unaware that they are growing 
a crop of plants that feed on animal and 
human flesh. 



#8526 ALL THAT 
GLITTERS 

Air dates: 4/6/66 & 7/27/66 



Writer: Barney Slater 

Director: Harry Harris 

Guest Cast: Werner Klemperer (Bolix), 

Larry Ward (Ohan), Ted Lehmann (Voice), 

Bob May (Monster), Dawson Palmer 

(Monster) 

A space thief entrusts Penny and Smith 
with his booty, a neck-ring that turns 
anything one touches into platinum. 
Smith, however, betrays the thief, keep- 
ing the ring for himself . . . and with it, 
accidentally turning Penny to platinum. 

#8527 THE LOST 
CIVILIZATION 

Air dates: 4/13/66 & 8/3/66 

Writer: William Welch 

Director: Don Richardson 

Guest Cast: Kym Karath (Princess), Royal 

Dano (Major Ctomo), Dawson Palmer 

(Soldier) 

According to the rules of an ancient 
civilization Will must marry the princess 
he kissed and awoke from suspended 
animation. The civilization has been 
stockpiling soldiers in freezing tubes, and 
now plans to conquer the Universe, 
beginning with Earth. 

#8528 A CHANGE OF 
SPACE 

Air dates: 4/27/66 & 8/17/66 

Writer: Peter Packer 

Director: Sobey Martin 

Guest Cast: Frank Graham (Alien) 

Will returns from a faster-than-light trip in 
an alien spaceship with his intelligence 
.greatly increased. Smith, trying to repeat 
the trick on himself, returns instead as 
an old man. 

#8529 FOLLOW THE 
LEADER 

Air dates: 4/27/66 & 8/17/66 

Writer: Barney Slater 

Director: Don Richardson 

Guest Cast: Gregory Morton (Alien Voice) 

Knocked unconscious during a cave-in, 
John's mind and body are possessed by 
an alien warrior spirit. When the rest of 
the family becomes suspicious of John's 



39 



unusual behavior, he seals them up in 
the cave, and plots to throw Will off a 
cliff. 

YEAR 2: 

30 EPISODES 

(Color) 

#9501 BLAST OFF INTO 
SPACE 

Air dates: 9/14/66 & 5/3/67 

Writer: Peter Packer 

Director: Nathan Juran 

Guest Cast: Strother Martin (Nerim) 

The Robinsons prepare for a quick depar- 
ture when they find that a mining 
engineer blasting for a life-giving mineral 
has caused a chain-reaction of earth- 
quakes that will disintegrate the planet. 

#9502 WILD ADVENTURE 

Air dates: 9/21/66 & 5/10/67 

Writers: William Read Woodfield & Allan 

Baiter 

Director: Ron Richardson 

Guest Cast: Vitina Marcus (Lorelei) 

Setting course for Alpha Centauri, the 
Robinsons' journey is hampered by 
Smith, who first dumps the ship's fuel 
■supply into space and then almost pilots 
Jupiter 2 into a sun. Later Smith is 
hypnotized by a space siren who wants 
Jupiter 2's deutronium for food. 

#9503 THE GHOST 
PLANET 

Air dates: 9/28/66 & 5/17/67 

Writer: Peter Packer 

Director: Nathan Juran 

Guest Cast: Sue England (Space Control 

Voice), Michael Fox (Summit Voice), 

Dawson Palmer (Cyborgs) 

A voice purporting to be from Earth in- 
structs Smith to land Jupiter 2 on the 
planet it is passing. When Smith obeys, 
the Robinsons find a grotesque mockery 
of Alpha Control, hiding a civilization of 
robots who make human beings their 
slaves. 

#9504 THE FORBIDDEN 
WORLD 

Air dates: 10/5/66 & 5/24/67 

Writer: Barney Slater 

Director: Don Richardson 

Guest Cast: Wally Cox (Tiabo), Janos 

Prohaska (Monster) 

Jupiter 2 crash-lands on an alien planet 
whose sole inhabitants are a strange lit- 
tle hermit and his giant bird. Smith, Will 
and the robot are captured by the alien, 
who plans to mobilize an army to destroy 
Jupiter 2. 

#9505 SPACE CIRCUS 

Air date: 10/12/66 

Writers: Bob and Wanda Duncan 

Director: Harry Harris 

Guest Cast: James Westerfield (Dr. 

Marvello), Melinda Fee (Fenestra), Harry 

Varteresian (Vicho), Michael Greene 

(Nubu), Dawson Palmer (Monster) 

The owner of a space circus, realizing 
that Will has a mysterious ability to 
make things appear from thoughts, plans 
to kidnap him and make him part of the 
circus. 

#9506 THE PRISONERS 
OF SPACE 

Air date: 10719/66 

Writer: Barney Slater 

Director: Nathan Juran 

Guest Cast: Dawson Palmer (Monster) 

An outer -space court accuses the Robin- 
sons of various crimes in space, but after 
questioning it becomes apparent that 

40 




"Ghost in Space," Year One. Bog Monster or Uncle Thaddeus? 



Smith is the true perpetrator behind each 
"crime." The Robinsons pool their efforts 
to keep alien justice from being done to 
Smith. 

#9507 THE ANDROID 

MACHINE 

Air date: 10/26/66 

Writers: Bob and Wanda Duncan 

Director: Don Richardson 

Guest Cast: Dee Hartford (Verda), Fritz 

Feld (Mr. Zumdish), Tiger Joe Marsh 

(Guard), Dawson Palmer (Monster) 

In tampering with an alien "department 
store" device, Smith accidentally 
"orders" himself an emotionless android 
whom the Robinsons teach to act 
human. Unfortunately, when the store's 
collection agency calls, there is nothing 
with which to pay for her. 

#9508 THE DEADLY 
GAMES OF GAMMA 6 

Air date: 11/2/66 

Writer: Barney Slater 

Director: Harry Harris 

Guest Cast: Mike Kellin (Myke), Harry 

Monty (Geoo), Ronald Weber (Gromack), 

Peter Brocco (Alien Leader), Chuck 

Roberson (Alien Giant) 

On the chance that he might return to 
Earth, Smith agrees to a boxing match 
between himself and a midget. Confident 
that he will win, and knowing that Earth 
will be sacrificed if he loses, Smith only 
later finds that the alien can make 
himself invisible. 



#9509 THE THIEF FROM 
OUTER SPACE 

Air dates: 11/9/66 & 5/31/67 

Writer: Jackson Gillis 

Director: Don Richardson 

Guest Cast: Malachi Throne (Thief), Ted 

Cassidy (Slave), Maxine Gates (Pat 

Princess) 

Convinced that the Robinsons have maps 
which will lead him to a space princess, 
a thief captures Will, Penny and Smith. 
Will is made into an apprentice thief, 
Penny is held prisoner, and Smith is 
marked for death under a pendulum. 

#9510 CURSE OF COUSIN 
SMITH 

Air date: 11/16/66 

Writer: Barney Slater 

Director: Justis Addis 

Guest Cast: Henry Jones (Jeremiah), 

Allan Melvin (Little Joe) 



An "alien" that Smith is terrified of turns 
out to be his own cousin Jeremiah, who 
is in cahoots with an intergalactic Mafia 
in an attempt to murder Dr. Smith and 
claim the family fortune. 

#9511 THE DREAM 
MONSTER 

Air date: 12/21/66 

Writer: Peter Packer 

Director: Don Richardson 

Guest Cast: John Abbott (Sesmar). 

Dawson Palmer (Raddion), Harry Monty 

(First Midget), Frank Delfino (Second 

Midget) 

To make his android more "human," a 



space scientist drains all emotions from 
the Robinsons, leaving them unimag- 
inative and apathetic. 

#9512 WEST OF MARS 

Air dates: 11/30/66 & 7/5/67 
Writer: Michael Fessier 
Director: Nathan Juran 
Guest Cast: Allan Melvin (Enforcer), 
Charles Arthur (Photo DBL), Mickey Man- 
ners (Dee), Lane Bradford (Pleiades 
Pete), Eddie Quinlan- (Bartender), Ken 
Mayer (Customer) 

Smith's doppelganger, a space 
desperado, forces him to change clothes. 
Smith is then arrested as the real gun- 
slinger, and is taken away to an alien 
planet to be executed for his "crimes." 

#9513 A VISIT TO HADES 

Air dates: 12/7/66 & 6/7/67 8. 9/11/68 
Writer: Carey Wilbur 
Director: Don Richardson 
Guest Cast: Gerald Mohr.(Morbus) 

Smith descends to a fiery nether region 
and thinks he has literally gone to Hell. 
Actually, he is in a space prison for a 
criminal who is using Dr. Smith to help 
him escape. 

#9514 THE WRECK OF 
THE ROBOT 

Air dates; 12/14/66 & 6/14/67 
Writer: Barney Slater 
Director: Nathan Juran 
Guest Cast: Jim Mills (Alien #1) 

Aliens steal and disassemble the Robin- 
sons' robot in an attempt to find out 
how Earth machines work. With that 
knowledge, they plan to build a machine 
to take over all other machines and sub- 
jugate the human race. 

#9515 THE GOLDEN 
MAN 




Air dates: 12/28/66 & 6/21/67 

Writer: Barney Slater 

Director: Don Richardson 

Guest Cast: Dennis Patrick (Keema), 

Ronald Gans (Frog Alien), Bill Troy 

(Handsome Alien) 

Two alien representatives arrive to fight a 
war between planets. A kindly, handsome 
alien appeals to the Robinsons for 
weapons to destroy his enemy, an 
inhospitable frog. The Robinsons are 
hesitant, but Smith secretly delivers the 
weapons. . .and learns the real truth. 

#9516 THE GIRL FROM 
THE GREEN DIMENSION 

Air dates: 1/4/67 & 6/28/67 

Writer: Peter Packer 

Director: Nathan Juran 

Guest Cast: Vitina Marcus (Athena), 

Harry Raybould (Urso) 

Smith becomes the third side in an alien 
love triangle when one of the aliens turns 
Will's skin green and will not restore him 
unless Smith consents to a duel to the 
deatfi. 

#9517 THE QUESTING 
DEAST 

Air date: 1/11/67 

Writer: Carey Wilbur 

Director: Don Richardson 

Guest Cast: Hans Conreid (Sagramonte), 

Sue England (Que Track Voice), Jeff 

County (Gundemar) 

Will discovers that a knight's tales of 
battling with a dragon are lies, and loses 
his faith in people. Meanwhile, the 
knight, upon finally catching up with the 
dragon, discovers that it is an intelligent 
lifeform, and loses his desire to slay it, 
which was his only purpose in life. 

#9516 THE TOYMAKER 

Air date: 1/25/67 

Writers: Bob and Wanda Duncan 

Director: Robert Douglas 

Guest Cast: Fritz Feld (Zumdish), Walter 

Burke (Om), Tiger Joe Marsh (Security 

Guard), Dawson Palmer (Monster), Larry 

Dean (Wooden Soldier) 

Smith is captured by a Celestial Depart- 
ment Store ordering machine, made into 
a clown and put into the toy department- 
Will and the robot follow him into the 
machine and find a passageway back 
to Earth. 

#9519 MUTINY IN SPACE 

Air dates: 2/1/67 & 7/26/67 

Writer: Peter Packer 

Director: Don Richardson 

Guest Cast: Ronald Long (Admiral Zahrk) 

An insane space admiral abducts Will, 
Smith and the robot and uses them as 
his crew in his relentless search" for his 
first mate, who committed mutiny. 

#9520 THE SPACE 
VIKINGS 

Air dates: 2/8/67 & 7/12/67 

Writer: Margaret Brookman Hill 

Director: Ezra Stone 

Guest Cast: Sheila Mathews (Brynhilde), 

Bern Hoffman (Thor) 

When the god Thor discovers that Smith 
has stolen his magic gloves and hammer, 
he challenges him to a duel to the death. 
To save his neck. Smith convinces Thor 
that he is ineffectual and would lose . . . 
Just when Valhalla is attacked by giants. 



#9521 TREASURE OF THE 
LOST PLANET 

Air date: 3/1/67 

Writer: Carey Wilbur 

Director: Harry Harris 

Guest Cast: Albert Salmi (Tucker), Craig 

Duncan (Deek), Jim Boles (Smeek), 




"One of Our Dogs Is Missing," Year One. One of the better scripts that didn't showcase Smith. 



Dawson Palmer (Izrulan) . 

A hideous mechanical head mistakes Dr. 
Smith for its master and tries to lead him 
to a priceless treasure. A humanoid 
group of pirates finds out and forces 
Smith to take them along. 



#9522 ROCKET TO 
EARTH 

Air dates: 2/15/67 & 8/9/67 
Writer: Barney Slater 
Director: Don Richardson 
Guest Cast: Al Lewis (Zalto) 

Smith plays sorcerer's apprentice to a 
space magician, hoping to steal his 
spaceship and return to Earth. The ship,- 
though, is programmed to self-destruct 
when it reaches outer space. 

#9523 THE MECHANICAL 
MEN 

Air dates: 4/5/67 & 8/30/67 
Writer: Barney Salter 
Director: Seymour Robbie 
Guest Cast: Jim Mills (Leader) 

To provide themselves with an ideal 
leader, tiny mechanical versions of the 
Robinson's robot place Smith's cunning 
personality into the. robot, and vice versa. 
Smith then becomes courteous and 
brave, while the robot turns into a very 
clever enemy. 

#9524 REVOLT OF THE 
ANDROIDS 

Air dates: 3/8/67 4 7/19/67 
Writers: Bob and Wanda Duncan 
Director: Don Richardson 
Guest Cast: Dee Hartford (Verda), Don 
Matheson (IDAK Alpha 12), Dawson 
Palmer (IDAK Omega 17 & Monster) 

Verda returns, pursued by an alien super- 
man sent to bring her back or destroy 
her. When the Robinsons win over the 
alien superman's sympathies, the CDS 
machine simply creates another one, 
stronger and totally devoted to destruc- 
tion. 

#9525 THE CAVE OF THE 



VIZARDS 



Air dates: 2/22/67 & 8/2/67 

Writer: Peter Packer 

Director: Don Richardson 

Guest Cast: Bob May (Computer), 

Dawson Palmer (Rock Creature), Jim 

Mills (Eye), Michael Fox (Brain), Larry 

Dean (Mummy) 

Luring Smith into a cave, a computer 
gradually takes over his mind and body, 
transforming him into an alien. With a 
launch window coming up soon, the 
Robinsons must get Smith's true identity 
to emerge, or leave him behind. 



#9526 THE COLONISTS 

Air date: 3/15/67 

Writer: Peter Packer 

Director: Ezra Stone 

Guest Cast: Francine York (Niolani) 

The Robinson men are captured by 
female warriors and put to work, while 
the women are treated to lives of luxury. 
The men's fate hinges on Smith, who has 
wormed his way into the space queen's 
affections and can sabotage her base. 

#9527 TRIP THROUGH 
THE ROBOT 

Air dates: 3/22/67 & 8/16/67 
"Writer: Barney Slater 
Director: Don Richardson 

Losing power and unable to be re- 
charged, the dying robot suicidally 
wanders into a gaseous-area, where the 
vapors turn him into a giant. Smith and 
Will crawl inside him to reverse his ionic 
process, shrink him back to size, and 
possibly save him. 

#9526 THE PHANTOM 
FAMILY 

Air dates: 3/29/67 & 8/23/67 

Writer: Peter Packer 

Director: Ezra Stone 

Guest Cast: Alan Hewitt (Lemnoc) 

Will discovers that his family has been 
replaced by android duplicates. Their 
creator wants Will to teach them how to 
act like real human beings ... or the 
original Robinsons will die. 



#9529 THE ASTRAL 
TRAVELER 

Air date: 4/12/67 

Writer: Carey Wilbur 

Director: Don Richardson 

Guest Cast: Sean McClory (Hamish), 

Dawson Palmer (Angus) 

Will passes through a space warp to 
19th-century Scotland, where a ghost and 
a monster inhabit an old castle. When 
Smith follows and the ghost finds that 
Smith's ancestors were responsible for 
his death, he plans Smith's beheading. 
But mercy arrives for both Smith and the 
ghost from beyond. 

#9530 THE GALAXY 
GIFT 

Air date: 4/26/67 

Writer: Barney Slater 

Director: Ezra Stone 

Guest Cast: John Carradine (Arcon), Jim 

Mills (Saticon #1) 

Penny's loyalties are tested when she 
must either watch her family die or give 
up an amulet an alien has warned her 
not to. Other aliens will transport her to 
an unreal "Earth" as a reward, if she will 
sacrifice the gift. 



YEAR 3: 

24 EPISODES 

(Color) 

#1501 CONDEMNED OF 
SPACE 

Air dates: 9/6/67 & 3/20/68 

Writer: Peter Packer 

Director: Nathan Juran 

Guest Cast: Marcel Hillaire (Phanzig), 

Robby the Robot (Robot Guard) 

Jupiter 2 lifts off only hours before the 
planet is scheduled to collide with a 
comet. In space once again, the Robin- 
sons discover a ship full of frozen 
criminals. Smith releases one, who 
releases another, and another, until a 
full-scale escape is mounted. 



41 



#1505 VISIT TO A 
HOSTILE PLANET 

Air dates: 9/13/67 & 3/13/68 

Writer: Peter Packer 

Director: Sobey Martin 

Guest Cast: Pitt Herbert (Grover), Robert 

Foulk (Cragmire), Robert Pine (Craig), 

Norman Leavitt (Charlie), Clair Wilcox 

(Stacy) 

Runaway acceleration carries Jupiter 2 to 
Earth, in the year 1947, where it is 
mistaken for a UFO. Determined to stay, 
Smith joins the local townspeople in 
preparing an attack on the "flying 
saucer." 

#1506 KIDNAPPED IN 
SPACE 

Air dates: 9/20/67 & 3/27/68 

Writer: Robert Hamner 

Director: Don Richardson 

Guest Cast: Grant Sullivan (Alien #764), 

Carol Williams (Alien #1220), Joey Russo 

(Young Smith) 

Androids ruled by a giant computer 
shanghai Jupiter 2 and force the robot to 
repair their failing leader. Meanwhile, 
Smith tampers with a time-control device 
and is turned into a little boy. Elsewhere, 
John is killed by a laserbeam. 

#1502 HUNTER'S MOON 

Air dates: 9/27/67 & 4/3/68 

Writer: Jack Turley 

Director: Don Richardson 

Guest Cast: Vincent Beck (Megazor) 

John kills an attacking monster which 
turns out to have been the quarry in an 
alien's hunt. As punishment, John is 
made the new quarry in a deadly game 
of cat-and-mouse. 

#1503 THE SPACE 

PRIMEVALS 

Air dates: 10/4/67 & 4/10/68 

Writer: Peter Packer 

Director: Nathan Juran 

Guest Cast: Arthur Batanides (Rongah) 

On Jheir way to cap a threatening 
volcano, Don and Smith are captured by 
primitives who are governed by a com- 




"Invaders from the 5th Dimension," Year One. After Will's brain. 



puter, and face two possible deaths: ex- 
ecution by the tribe or burning under the 
lava of the looming volcano. 



#1508 THE SPACE 
DESTRUCTORS 

Air dates: 10711/67 & 4/17/68 

Writer: Robert Hamner 

Director: Don Richardson 

Guest Cast: Tommy Farrell (Cyborg) 

Smith finds an android-creating device 
and makes himself a set of conquering 
soldiers who look exactly like him. In 
trying to stop him, Will falls into the 
machine, and emerges with Smith's face 
and a lust for killing. 




Michael Rennie as "The Keeper," from the Year One two-parter. 



#1509 THE HAUNTED 
LIGHTHOUSE 

Air dates: 10/18/67 & 4/24/68 

Writer: Jackson Gitlis 

Director: Sobey Martin 

Guest Cast: Lou Wagner (J-5), Woodrow 

Parfrey (Col. Fogey), Kenya Coburn 

(Zaybo) 

Leaving their planet, which is being 
swept by a space storm, the Robinsons 
take along a lost alien boy, whose 
mental powers and unusual "pet" are 
unleashed when the ship stops at a 
space station. 

#1507 FLIGHT INTO THE 
FUTURE 

Air dates: 10725/67 & 5/1/68 

Writer: Peter Packer 

Director: Sobey Martin 

Guest Cast: Don Eitner (Sgt. Smith), Lew 

Gallo (Cmdr. Fletcher) 

Will, Smith and the robot land the Space 
Pod on a planet that seemingly defies 
logic — fruit explodes, invisible birds 
cast shadows, and the Robinsons' 
descendants claim that the year is 2270 
AD. 

#1510 COLLISION OF 
THE PLANETS 

Air dates: 11/8/67 & 5/8/68 

Writer: Peter Packer 

Director: Don Richardson 

Guest Cast: Dan Travanty (Man), Linda 

Gaye Scott (Alien Girl), Joey Tata (Alien 

#3), Dawson Palmer (Alien #4) 

Four space hippies are assigned by their 
leader to blow up the Robinsons' planet 
without giving them time to make repairs 
and leave. The Robinsons' only hope 
seems to be Smith, who has been 
transformed into a space-age Samson by 
a weird gas. 



#1511 THE SPACE 
CREATURE 

Air dates: 11/15767 & 5/15/68 

Writer: William Welch 

Director: Sobey Martin 

Guest Cast: Ronald Cans' (Creature), Bob 



May (Blue Mist) 

Jupiter 2 is locked in orbit around a 
planet which harbors a creature that 
feeds on fear. In order to create its life- 
focd, the being causes the Robinsons to 
vanish from the ship one-by-one, leaving 
a psychotic Dr. Smith, who is trying to 
murder Will. 

#1504 DEADLIEST OF 
THE SPECIES 

Air dates: 11/22/67 & 5/22/68 

Writer: Robert Hamner 

Director: Sobey Martin 

Guest Cast: Ronald Gans (Alien Leader), 

Lyle Waggoner (Mechanical Man 1), Sue 

England (Female Robot), Ralph Lee 

(Mechanical Man 2) 

The robot falls in love with an alien 
female robot, who is being hunted by law 
officers of her world for being a killer. 

#1514 A DAY AT THE 
ZOO 

Air dates: 11/29/67 & 5/29/68 

Writer: Jackson Gitlis 

Director: Irving Moore 

Guest Cast: Leonard Stone (Farnum), 

Gary Tigerman (Oggo), Ronald Weber 

(Mort) 

An intergalactic showman puts the 
Robinsons on exhibit in his space zoo. 
During an escape attempt, Will and his 
captor fall into another time zone, while 
Smith decides to take over the zoo's 
operation himself. 

#1515 TWO WEEKS IN 
SPACE 

Air dates: 12/13/67 & 675/68 

Writer: Robert Hamner 

Director: Don Richardson 

Guest Cast: Fritz Feld (Zumdish), Richard 

Krisher (MXR), Eric Matthews (QZW), Edy 

Williams (Non), Carroll Roebke (Tat) 

Zumdish, now operating a tour agency, 
comes to the Robinsons' planet with 
clients. Smith seizes the opportunity to 
turn the presently-empty Jupiter 2 into a 
resort hotel, unaware that the four vaca- 
tioning aliens are murderers hiding out 
from the law. 

#1513 CASTLES IN SPACE 

Air dates: 12/20767 & 6/12/68 

Writer: Peter Packer 

Director: Sobey Martin 

Guest Cast: Alberto Monte (Chavo), Cor- 

inna Tsopei (Reyka) 

The Robinsons give refuge to a beautiful 
ice princess who is running from a boun- 
ty hunter. When the hunter captures Will, 
he suggests a trade . .-. the boy for the 
princess. 

#1512 ANTI-MATTER 
MAN 

Air dates: 12/27/67 & 6/19/68 

Writers: Barney Slater and Robert 

Hamner 

Director: Sutton Roley 

Guest Cast: Mark Goddard (Drun) 

An experiment gone awry whisks John 
away to a surrealistic anti-matter world, 
and substitutes John's anti-matter dou- 
ble, a criminal. Will, Smith and the robot 
attempt to rescue the. real John, who has 
been imprisoned by a monster and a 
psychotic version of Don. 

#1516 TARGET: EARTH 

Air dates: 1/3/68 & 6/26768 

Writer: Peter Packer 

Director: Nathan Juran 

Guest Cast: James Gosa (Gitt Proto), 

Brent Davis (Mike Officer), Thant Brann 

(2nd Officer) 

Shapeless aliens imprison the Robin- 
sons, make themselves into their 



42 









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Left -to -right: Guy Williams, June Lockhart, Bill Mumy, Robot, Jonathan Harris, Angela Cartwright, Marta Kristen and Mark Goddard. 



doubles, and hijack Jupiter 2. Will and 
Smith escape imprisonment, club their 
impostors, and board Jupiter 2 with the 
aliens for a flight to Earth. 

#1519 PRINCESS OF 
SPACE 

Air dates: 1/10/68 & 7/3/68 

Writer: Jackson Gillis 

Director: Don Richardson 

Guest Cast: Robert Foulk (Kraspo), Arte 

Johnson (Fedor), Sheila Mathews (Aunt 

Gamma) 

Confusion surrounds Penny's lineage 
when she is taken for a space princess, 
put onto an alien ship and trained to take 
over the throne on the aliens' planet. 

#1518 THE TIME 
MERCHANT 

Air dates: 1/17/68 & 7/24/68 

Writers: Bob and Wanda Duncan 

Director: Ezra Stone 

Guest Cast: John Crawford (Dr. Chronos), 

Byron Morrow (General), Hoke Howell 

(Sgt.) 

A time merchant who lives in a Dali- 
esque world prepares to curtail the 



Robinsons' lives because they acciden- 
tally interrupted his time-trip. Smith, 
meanwhile, having returned to Earth in 
1997, must re-board Jupiter 2 or watch it 
be destroyed. 

#1520 THE PROMISED 
PLANET 

Air dates: 1/24/68 & 9/4/68 

Writer: Peter Packer 

Director: Ezra Stone 

Guest Cast: Gil Rogers (Bartholomew), 

Keith Taylor (Edgar) 

Told they are approaching an Earth col- 
ony, the Robinsons land on a planet 
whose culture is totally geared towards 
teenagers. Soon, subtle forms of brain- 
washing cause the older Robinsons and 
their children to disassociate themselves 
from each other. 

#1522 FUGITIVES IN 
SPACE 

Air dates: 1/31/68 & 7/31/68 

Writer: Robert Hamner 

Director: Ezra Stone 

Guest Cast: Michael Conrad (Creech), Tol 

Avery (Warden), Charles Horvath (Guard 

#1) 



Don and Smith are framed as criminals 
and sent to the toughest prison in the 
galaxy. While Will and theTobot try to 
figure a way to get them out, Don and 
Smith argue over whether or not to go 
along with a criminal's escape plan. 

#1523 SPACE BEAUTY 

Air dates: 2/14/68 &'8/14/68 

Writer: Jackson Gillis 

Director: Irving Moore 

Guest Cast: Leonard Stone {Farnum), Dee 

Hartford (Nancy), Miriam Schillar (Miss 

Teutonium) 

Farnum, now in the beauty contest 
business, tries to sign up Judy as a con- 
testant. If he doesn't, his alien master, a 
man made of fire, will keep his soul. 

#1517 THE FLAMING 
PLANET 

Air dates: 2/21/68 & 7/10/68 

Writer: Barney Slater 

Director: Don Richardson 

Guest Cast: Abraham Sofaer (Sobram) 

To alleviate a crisis, Jupiter 2 must orbit 
a planet for several hours. But the alien 
who resides there, the last member of a 
proud warrior race, will not permit it 



unless someone stays behind with him to 
wage one last, glorious battle. 

#1521 THE GREAT 
VEGETABLE REBELLION 

Air dates: 2/28/68 & 7/17/68 

Writer: Peter Packer 

Director: Don Richardson 

Guest Cast: Stanley Adams, (Tybo), 

James Millhollin (Willoughby the Llama) 

On an alien planet, Dr. Smith plucks a 
flower, arousing accusations of murder 
from a giant talking carrot, who plans to 
punish the Robinsons by assimilating 
them into the plant world. 

#1524 JUNKYARD OF 
SPACE 

Air dates: 3/6/68 & 8/21/68 

Writer: Barney Slater 

Director: Ezra Stone 

Guest Cast: Marcel Hillaire (Junkman) 

Jupiter 2's latest landfall is a planet 
which is used as the galaxy's junkyard. 
With the ship's food suplies deterio- 
rating, Smith sacrifices first the robot's 
parts to the planet's junkman, then 
Jupiter 2 itself. Jf. 



43 




Top of page: Filmmaker George Romero, 
the father of the Living Dead. Above: 
There are very few survivors in the war 
between the living and the undead in 
Dawn of the Dead's slightly mauled shop- 
ping mall. Right: Tom Savini's jnventive 
makeup allowed actors to cut up on the set. 



44 



STARLOG INTERVIEW 




mMm 




Master of the Living Dead 



Filmmaker George Romero doesn't mind the slapstick ultra- violence in 
Dawn of the Dead . . . there's philosophical clout beneath that gore. 






By STEVE SWIRES 

When there's no more room in hell, 
the dead will walk the earth!" 
More than an effective line of ad- 
vertising copy, that quote is an apt descrip- 
tion of the nightmare vision of writer- 
director George A. Romero. Best known 
for his cult classic, Night of the Living 
Dead, made in 1967, and more recently the 
midnight-screening favorite Martin, 
Romero is set to permanently rise from the 
underground as his latest film, Dawn of the 
Dead, bursts across the nation's theater 
screens. 

' "Bursts" is precisely the word, because 
when the dead walk the Earth, the blood 
flows freely, in great gushing gallons, as the 
human race becomes a collective appetizer 
for an army of hungry zombies. A 
continuation and extension of the events in 
Night, rather than a traditional sequel, 
Dawn takes full advantage of its near 
$2-million budget with a visual slickness 
and professional polish that rivals many a 
major studio production. Chief among its 
highlights are the spectacularly gruesome 
cosmetic special effects created by makeup 
expert Tom Savini. In fact, in its 
original, unrated, 173-minute rough cut, it- 
may well be the most violent motion picture 
ever made, wherein Romero makes Sam 
Peckinpah look like Walt Disney. 

"It's comic book violence," insists 
Romero, as he wolfs down a quick lunch in 
his crowded New York office while await- 
ing what turned out to be a sold-out sneak 
preview of the film that night. "It's plas- 
ticized so much that I don't think it can be 
taken seriously. Yes, it's violent in terms of 
what happens, but it's not upsetting to 
me." 

Even so, the 38-year-old Romero and his 
imaginative low-budget movies have been 
happily upsetting audiences for 12 years. 



Considering how efficiently he's executed 
his bizarre ideas, it's surprising to discover 
that this large, bearded, friendly fellow 
didn't start out in life surrounded by scenes 
of gore and horror. 

"I was born in New York City and grew 
up in the Parkchester section of the 
Bronx," Romero recalls. "I went to Pitts- 
burgh to go to college at Carnegie-Mellon 
and studied painting and design. I didn't 
know where I was going then, and I had no 
idea what I wanted to do. After three years 
of that I transferred into the drama depart- 
ment. I stayed there for two years, and then 
I went out with a bunch of friends of mine 
and shot a film." 

Actually, Romero's first exposure to 
filmmaking occurred some years earlier. "I 
was interested in film ever since I was a kid, 
and I even made a movie when I was 14. It 
was called The Man from the Meteor, and it 
was loosely inspired by The Man from 
Planet X. It was in color but was silent, and 
I borrowed my uncle's 8mm equipment to 
make it. As a matter of fact, I was arrested 
because of it, for throwing a flaming dum- 
my off a rooftop in the Bronx. That was my 
first experience with public outrage at my 
work. But I was able to coerce a bunch of 
my friends into doing the movie with me, 
and I'm still basically doing the same thing 
to this day." 

It was only natural that Romero would 
have been influenced by a 1950s science- 
fiction film, since he spent a great deal of his 
childhood interested in the fantasy field. 
"The picture I liked the most when I was 
growingupwas The Thing," hesays. "That 
scared the hell out of me. The comics I read 
were the EC books, like Tales from the 
Crypt. I was also a Mad freak from the very 
early days. I can even remember being at an 
impressionable age when The Twilight 
Zone was first on. 

"That's the stuff which interested me. 



Probably parental discouragement had 
something to do with it, too. That was the 
extent to which you rebelled in those days — 
you listened to the right rock stations and 
you read the EC books, even though your 
parents found them and burned them. 
Hollywood wasn't taking the fantasy genre 
very seriously back then, so almost nobody 
was getting budgets and doing any decent 
work in the area. There were always little 
horror movies out, though, and even the 
junkiest ones were great. They were fabu- 
lous, and I enjoyed them all. That's really 
what it's about. As the genre has matured, 
it's still paying homage to the schlock. Part 
of the fun is the flashback to that time when 
they were so awful." 

The movie Romero and his friends made 
in college was called Expostulations, 
"which I don't count among my films," he 
says laughing. "We convinced somebody to 
'angel' us to $3,500. It was a 16mm Bolex 
job that we never even finished. 

"But all of us were interested in the 
medium, so we took the little bit of equip- 
ment we could scrounge together and just 
started a company called The Latent Image, 
to make commercials and industrial films. 
At that point, from 1962 through 1967, I 
learned most of what I know about the 
medium itself. We lucked in, and were in the 
right place at the right time in Pittsburgh, 
when the television commercial was just 
coming into its own. 

Among the national TV ad accounts 
Romero worked on were U.S. Steel, Alcoa 
and Calgon. One commercial in particular, 
for the latter company, went on to win a 
number of advertising awards. "It was 
around the time of Fantastic Voyage" 
Romero remembers. "We had a team of 
scientists reduce themselves to micro-size, 
and in a little submarine they went down in- 
to a washing machine. They got trapped in 
the fibers of a T-shirt, and found that 



It's comic book violence. It's plasticized so much that I 



don't think it can be taken seriously. It's violent in terms of 



what happens, but it's not upsetting to me. " 



45 



A crowd of zombies takes a stroll 
in the movie that started it all: 
Romero's Night of the Living Dead. 



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Calgon was able to blow them free." 

In spite of his success, Romero never in- 
tended to concentrate exclusively on com- 
mercials. "It was just rebelliousness that 
made us start the company. Our real motive 
was: 'Man, if we do these commercials, 
that'll pay the bills, and we can get a camera 
and make some films. ' We tried for a couple 
of years to promote three non-genre feature 
scripts but we could never get them off the 
ground. We decided that we didn't want to 
wait and that we should make something 
which would be commercial, at least on the 
surface. It just seemed that if you made a 
horror film it was easier to sell." 

The horror film they made, Night of the 
Living Dead, has been hailed by Newsweek 
as being "a true horror classic," and by Bri- 
tain's prestigious Sight and Sound as "the 
most horrifying horror movie ever made." 
A chilling, almost semi-documentary 
thriller about the dead returning to life and 
attacking— eating— the living, the picture 
was shot in 35mm black and white over a 
period of nine months in Evans City, Penn- 
sylvania, at a total budget of just $1 14,000. 
In the 12 years since its initial release, it has 
returned in excess of $10 million in rentals, 
making it one of the most financially suc- 
cessful independent films ever made. 

Although its most exploitable element 
was its explicit gore, the movie enabled 
Romero to realize a more ambitious inten- 
tion. ' ' I originally wrote it as a 60-page short 
story after I read Richard Matheson's I Am 
Legend, which I loved but found lacking in 
certain areas. It inspired me to create an 
allegorical concept about incoming and 
outgoing societies and a state of revolution 
without discussing specific ideologies, but 
rather examining the phenomenon of what 
happens when a revolutionary society with 
46 



a totally new morality deposes an operative 
societal structure. 

"It happened in three stages, right from 
the jump. Stage one was the beginning of 
the phenomenon, which we covered in 
Night. At the end, the operative society was 
still seemingly in control, although the 
specific humans we were dealing with did 
die and we had a generally pessimistic out- 
look toward the future. Stage two was equal 
balance, and that became Dawn of the 
Dead. At that point it can go either way. In 
stage three, the new zombie society is domi- 
nant, but in the denouement you find out 
that even though the new society is the 
operative one, it's under the control of a few 
elitist dictatorial humans. They fall right in- 
to the same pattern of human society being 
controlled by outside forces." 

That's a pretty heavy intellectual load for 
a simple "horror film" to carry, but 
Romero wouldn't have it any other way. 
"It's like a handshake with the audience," 
he believes. "I wouldn't want to do it if 
there weren't something more substantial 
there. It's what I look to fantasy for. How- 
ever, I don't want to preach. I don't mean to 
imply at all that I have new ideas or that I'm 
trying to communicate solutions. I'm simp- 
ly making an observation about what hap- 
pens with societal overthrow. It's just that 
I'd rather be consciously aware of the 
allegory and have it there as a sub-text, in- 
stead of just being out shooting ducks." 

As he did with his television commercials, 
Romero turned to his friends and business 
associates for financial and creative sup- 
port, forming a collapsible corporation, 
Image Ten, with nine other people, solely 
for the production of Night of the Living 
Dead. For his part, Romero co-wrote, 
directed, photographed and edited the 
picture. 

"Each one of us put in $600 seed 
money," he recalls, "and we went out and 
bought a case of film and some costumes 
and rented a farm house. It was distinctly a 



community effort 

After its completion, Romero and his 
partners were faced with the problem of fin- 
ding a distributor for their picture. That 
proved to be a difficult task for a group of 
innocents from Pittsburgh. "We always 
believed we would be able to sell it to some- 
body," he says. "When it was finished, 
Russand I threw the print in the car, came to 
New York and showed it to Columbia. 
They loved it, but they held it for a couple of 
months and then said their reason for not 
taking it was that it was in black and white. 
We went to American-International. They 
said it was too unmitigating and wanted the 
ending changed. 

' 'Then we got awakened to the realities of 
the business. It's a very small family, and 
there aren't very many places you can go to 
get your film distributed. We started to run 
into resistance and we lost our ability to get 
in to see people, based on the word getting 
out that we couldn't make a deal and that 
the film was pretty violent." 

Eventually, a sales agent was hired to rep- 
resent them, and the situation improved. 
Walter Reade made the best offer, and 
finally released Night in the summer of 1968 
through its Continental Films. For Romero 
and his associates, however, their problems 
were far from over. 

"There was a contract violation, which 
caused Image Ten to sue Reade. They were 
contracted to play Night as the 'A' picture 
for so many years, even if they doubled it 
off with something. It turned out that they 
owned one of the movies they doubled it off 
with, so they didn't have to pay royalties, 
yet they were splitting the pie equally. Then 
they started to play it as the 'B' under pic- 
tures like Slaves. There was also a question 
of their accurately reporting all the money it 
was making. Image Ten won the lawsuit all 
the way up through the Pennsylvania 
Supreme Court. In fact, the original suit 
was for $1.5 million, and the court awarded 
$3 million. There was no collection, 
though, because by then Reade had gone 
bankrupt." 

Romero was far from idle during these 
protracted legal entanglements. Besides 
continuing to shoot commercials, he went 
on to make three additional feature films in 
rapid succession, although they too exper- 



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i kneed distribution difficulties. 

"When Night started to make money 
and get good reviews," he relates, "a group 
of investors from Pittsburgh came to us and 
said, 'Okay, here's some money — go make 
a movie.' I was really paranoid then about 
not wanting to be typed as a 'horror direc- 
tor.' I had a script by Rudy Ricci called 
There's Always Vanilla, which was a little 
romantic comedy that didn't pretend to be 
anything else, so we made it. We wanted to 
consciously do something that looked 
"studio, ' just to prove a point to all the peo- 
ple who said Night looked like it was printed 
on old army blankets. I was misguided, and 
it shouldn't have been made." 

Romero considers his third picture, the 
occult-oriented Jack 's Wife, which received 
limited release from Jack H. Harris, to be 
"my impression of what was happening in 
the beginnings of consciousness raising, in 
terms of women's posture in society. It 
wasn't a witchcraft movie per se. It con- 
cerned a comfortable suburban housewife 
who became involved with a woman who 
claimed to be a real witch. She was frighten- 
ed that the devil was getting to her and mak- 
ing her behave in certain ways, and it was 
really about the changes that she went 
through." 

Although neither film did much for 
Romero's reputation, they at least provided 
him with an opportunity to further improve 
his technical skills. Besides writing Jack's 
Wife, he directed, photographed and edited 
both movies, which were shot in 16mm col- 
or. The maturity garnered from this in- 
creased experience was clearly evident in his 
fourth film — The Crazies — a suspense 
thriller about the Army's efforts to isolate 
the inhabitants of a small town that was the 
site of an accidental bio-weapons spill, 
which turned those exposed to the virus into 
crazed killers. 

"We co-produced it with Cambist, who 
over-evaluated it. They thought they had a 
smash, so they talked themselves out of 
opening wide with it and decided to spend 
big money on a New York opening, which 
they didn't really know how to handle. In- 
stead of treating it carefully, they spent their 
money on 50-foot high statues of the 
soldiers in Times Square. Hessel even re- 
fused to promote the fact that I had directed 
Night of the Living Dead. He literally said, 
'Why should I make money for Walter 
Reade?' He didn't understand the film, and 
in essence he blew his wad. It didn't even 
survive a week." 

Having struck out three times in a row, 
Romero decided in 1972 to re-evaluate his 



career goals, and took a four-year hiatus 
from feature- film work. ' 'Around that time 
I first met my partner and producer, 
Richard Rubenstein," he recalls. "I said to 
myself, 'I've got to find out what the busi- 
ness is about, and Richard convinced me 
that the approach was to set ourselves up 
corporately, which we did as The Laurel 
Group. We have a publishing division, and 
we've arranged the publication of over 50 
books. We've also imported many Euro- 
pean films, and have used them to develop 
working relationships with the industry. We 
became heavily involved in television as 
well, and produced 17 hour-long sports 
biographies." 

With renewed confidence and ex- 
perience, Romero was ready to return to the 
motion-picture marketplace. His re-entry 
was Martin, a remarkably subtle and sym- 
pathetic character study of a repressed 
young man who may or may not be a vam- 
pire. Shot in 1 6mm over a six-month period 
at a cost of less than $150,000, the film is 
Romero's most serious and thought-pro- 
voking work to date. Once again, he went 
beyond the blood-letting in search of deeper 
concerns. As he wrote in the afterword to 
his novelization of the screenplay, published 
in hardcover by Stein and Day, "Martin is 
about all the monsters of the world, propos- 
ing that they are simply extensions or exag- 
gerations of a strain present in all of us." 

Again, however, Romero encountered 
problems with the realities of distribution. 
"It's not the kind of film you can drop into 
middle America with a moderate ad cam- 
paign," says Romero, "and expect word- 
of-mouth to spread like wildfire so that peo- 
ple come and launch it through the roof. 
Since the people I'm trying to reach are go- 
ing to see it anyway, the decision was made 
to keep it small. ' ' As a result, the picture, re- 
leased by Libra Films, has acquired a loyal 
following on the popular midnight-screen- 
ing circuit. 

Even that following, though, may not be 
prepared for the overwhelming visceral as- 
sualt Romero launches in Dawn of the 
Dead. The film focuses on four humans, 
fleeing from the zombie rampage, who 
pause for refreshment at an abandoned 
shopping mall, and then, seduced by their 
lavish surroundings, defend their fortress 
against the murderous assault. In addition 
to his already-established societal over- 
throw allegory, Romero introduces the con- 
cept of revenge against the ' 'temple of con- 
sumerism," which serves as a backdrop to 
the symphony of slaughter. 

"The explicit violence is necessary," 
Romero believes, "because it's partially 
what the film is about. There's a violent 
under-bed in America, and violence is cer- 
tainly an integral part of any revolution. 
Having it there in such abundance is almost 
easier to take than an occasional isolated 



moment. It becomes texture — it's constant- 
ly threatening and you don't know when it's 
going to unleash. In the same way that 
we've learned to live with the bomb and 
with the reality that we can walk down the 
street and get mugged, and yet we've been 
able to ignore that and go on with the rest of 
our lives hoping it doesn't happen to us, I'm 
kind of playing around a little bit to see if 
the violence can be that dominant a factor 
in the film and still enable the audience to 
get past it and experience the story line and 
the allegory."- 

Nevertheless, Romero isn't unaware of 
the potential for public outrage. "What 
bothers me most about the movie is that I ' ve 
seen audiences get off on the idea of having 
possession of the mall. That's a dangerous 
fantasy, just as I think the most damaging 
thing about television is that it breeds 
familiarity with affluence. It causes people 
to think, 'Oh, it's right there next to me, and 
it should belong to me.' That's why people 
felt free to help themselves to whatever they 
wanted during the last New York City 
blackout. I don't think the picture will cause 
anybody to go out and shoot someone — 
but it just might cause somebody to try to 
break into a shopping mall." 

Having completed his most expensive 
and challenging assignment, Romero is al- 
ready at work trying to find backers for his 
future projects. His pragmatic attitude re- 
flects his many years of dues-paying. "I've 
known a lot of filmmakers who spent five 
years trying to put one idea together, and 
that can be disastrous. I'm too much of a 
realist for that. Right now I have four prop- 
erties that I like very much. Of course I have 
favorites, but I'm willing to take any one of 
the four that's immediately financable. One 
of them is the third Dead film, but I want 
some space before doing that. Another is a 
1950s UFO comedy that Rudy Ricci wrote, 
called Shoo-Bee-Doo-Bee Noon. The third 
is a motorcycle movie called Knights, which 
Roger Corman hasn't come near to touch- 
ing. I'd rather not talk about the fourth 
one, because it's so fragile an idea that I 
keep waiting to read that somebody is going 
to do it tomorrow." 

Aware that the uncertainties of long- 
range planning have already lost him the 
opportunities to direct 'Salem's Lot and 
Rolling Thunder among others, Romero 
still sees sufficient reason for guarded opti- 
mism about his career. "Dawn of the Dead 
has proven to the mainstream film industry 
that we can handle big money effectively, 
and that we can produce big. On the other 
hand, Martin is getting us more attention in 
the creative sense. They're completely dif- 
ferent kinds of movies, so it's a nice 
balance, and I'm happy to have them both 
out at the same time. 

"If I could get into a position where I had 
enough clout to still make films the way I 
want to make them, then I'd love nothing 
better than to work through the major 
studio system, and have access to their 
equipment, soundstages, cash and the time 
that comes with the cash." • 

47 



Touring the Solar System with Jonathan Eberhart 

imrawL/fCTW 




Port of Call: 

Hektor 
Among 

the 
Oddballs 



As I.E.I, clients and other space ex- 
plorers know full well by this time, 
you can't trust the Solar System. If 
ever an object was discovered Out There 
that had no surprises (at least when we 
learned to look for them), I.E.I, hasn't 
heard of it. About the only thing you can 
count on is that they'll be round. 
Feldercarb! 

None of them are round. Planets, includ- 
ing the Earth, are flattened at the poles— or 
rather bulge at the equator— because they 
spin, and are further distorted (Earth is 
pear-shaped) due to such things as irregular 
mass distribution. But even if, for the sake 
of argument, you write the planets off as 
balls, there are still some mighty strange 
shapes orbiting around the system. 

Phobos and Deimos, for example, the 
Martian moons, are so weird that there's 
really no simple way to describe them. If 
pressed, one might compare Phobos to a 
kidney bean, and even that's not enough for 
Deimos, which is more like a kidney bean 
that has been sanded flat on three sides. 

Some of the asteroids are even less 
spherical, which is reasonable if one as- 
sumes that they are basically shrapnel left 
over from larger objects that broke up in 
collisions. But there are those that are ex- 
treme even by those standards. Eros, for 
example, which has been called "the best- 
studied asteroid by a large factor, " dumb- 
founded scientists trying to identify its 
shape through a whole series of obser- 
vations (radar, stellar occultations, ultra- 
violet photometry, etc.) conducted a few 
years ago. Nothing fit— a sphere, a simple 
ellipsoid, a wedge, not even an exotic, 
dome-topped disk like Klatu's spaceship in 
The Day the Earth Stood Still. The Uni- 
versity of Arizona's Ben Zellner, charged 
with making something out of all this, 
48 



finally decided that no suchidealized shape had 
anything to do with reality, and settled for 
the conclusion that overall dimensions of 13 
by 15 by 36 kilometers (plus or minus 1 km 
in each direction) "probably satisfy all the 
observations well enough." 

Such asteroids are basically just rocks, of 
course, and you don't often find a neatly 
spherical rock in your backyard. Still, I.E.I, 
has found that even mildly experienced 
spacefarers react with surprise when they 
first catch sight of some highly irregular, 
oddball asteroid hovering outside a view- 
port where generally roundish planets are 
usually found. This time out, however, 
I.E.I, suggests a close fly-by of one that you 
may find strange even if you've prepared 
by checking out every rock on your block. 

Its name is Hektor, and the trip is con- 
siderable, since it's out beyond the main 
asteroid belt in one of the two "Trojan 
Clouds" of asteroids that hang in gravi- 
tational balance between Jupiter and the 
Sun. But go anyway— you'll probably 
never have seen its like before. 

Is dumbbell-shaped 

Hektor just two bodies 

stuck together, or was 

that shape formed when a 

larger body exploded? 

About a decade ago, J.L. Dunlap and 
Tom Gehrels, also with the University of 
Arizona, concluded from many years of 
observations that Hektor's apparent bright- 
ness sometimes varied as much as threefold 
as the body turned. This suggested that it 
could be either a spherical object with one 
bright hemisphere or an elongated object 
seen alternately from the side and from the 
end. At other times, however, the research- 
ers found the brightness to vary hardly at 
all. For a sphere, this would imply the. 
highly unlikely possibility that the bright 
and dark hemispheres would have to be 
aligned strictly east-west, so that when seen 
pole-on, there would always be an equal 
amount of bright and dark surface showing 
even while the object rotated on its axis. In- 
stead, Dunlap and Gehrels chose the 
elongated-object possibility. Imagine a 
clock with a single hand— Hektor— that ex- 
tends equal distances in opposite directions 
from the center. When you look at the 
clock's face, you will always see the same 
total area of the hand's surface, so that 
light reflected from the hand will always be 



the same. If you look at the clock edge-on, 
however, you'll see a big change, as the 
hand exhibits first its whole, long edge, then 
shrinks down to only an end, then back up 
again. So Hektor looked like along, skinny 
asteroid— others were already believed to 
exist, and one might well expect diverse 
chips to result from the long-ago breakup of 
some larger parent body. 

Except that the other known ones were 
small, perhaps a few kilometers or tens of 
kilmometers across. A few years later, Dale 
Cruikshank of the University of Hawaii 
found that the reflectivity of Hektor's sur- 
face material was very low, meaning that it 
would take a large object to produce the ob- 
served total brightness. Large enough— 
perhaps 150 by 300 km— that one might ex- 
pect it to be subject to the same gravi- 
tational forces that tend to pull planets into 
roughly spherical shapes. A trickier ex- 
planation seemed to be necessary. 

So consider this: what you may find on 
I.E.I. 's slow fly-by is something like a huge 
dumbbell with a handle, or like two beach- 
balls stuck together. Bill Hartmann of the 
Planetary Science Institute (again in Ari- 
zona) and Cruikshank suggest that such an 
oddity could result if the two components 
happened to meet while traveling at the 
same speed and in nearly the same direc- 
tion. This would mean that, if they came 
together, their speed relative to each other 
could be low enough to keep them from 
breaking apart in the collision. Sure, they'd 
get a severe roughing up, and perhaps toss 
up a gigantic cloud of rocks and dust, but 
Hartmann believes that the two main ob- 
jects might actually stay together. Light- 
colored material kicked up in the crash 
might settle back around the contact area, 
further brightening the side view while re- 
maining invisible from the exposed end of 
either object. 

A test of the idea may be possible this 
spring, Hartmann says, when Hektor will 
be oriented so that its ends are facing Earth 
alternately. It would be strong evidence 
(though not absolute proof) if spectroscopy 
shows that the two ends— the two formerly 
independent objects— are madeof different 
stuff. Or, you could fly with I.E.I, and find 
out for sure. * 



The wonders of "real" space are at least 
as remarkable as any environments 
dreamed up for novels, movies or televi- 
sion; hence' 'this column— a regular 
travel guide for the spacefarer. Jona- 
than Eberhart is Space Sciences editor 
for Science News. 




49 




By DAVID HOUSTON 

A cocoon that we've been watching 
closely for the past several months 
has decided to yield a bird instead of 
a butterfly. The much-awaited Universal 
Studios revival of Buck Rogers, originally 
slatedfor showing as a pilot on NBC, is now 
headed for movie theaters worldwide. The 
target release date is March 30, but there are 
reasons why this date might not be met. 

"From day one," said Gil Gerard re- 
cently, "there were rumors going around 
that Buck Rogers was going to be released 
as a feature. We found out the film was be- 
ing shot with 185 framing instead of 175. 
[175 is'typical for TV, 1 85 for theatrical fea- 
tures.] But we all just thought, 'Oh, these 
rumors probably happen with every new 
show; it's probably just for TV.' The first 
concrete thing the cast learned came from a 
notice in Variety that said our picture would 
be released theatrically." Gil Gerard, of 
course, plays the new Buck Rogers (see 
starlog #19). 

Producer Leslie Stevens (of Outer Limits 
fame) shed light from the Universal execu- 
tive offices. "Originally, Buck Rogers was 
produced under a huge deal with NBC, 
which says that so many hours of produc- 
tion at Universal will be allotted for NBC 
pilots, so many for episodes, so many for 
development. There are constant negotia- 

Left: Buck (Gil Gerard) Rogers stands firm 
against the foes he meets in the 25th cen- 
tury. Buck's adventures hit the big screen 
this spring. Above: Buck strikes a curious 
pose during a battle scene. 



Covering an SF produc - 
tion from its inception is 
a fascinating experience, 
much like watching the 
growth of a living thing. 
Sometimes its evolution is 
predictable, hut sometimes 
the final shape of a show 
surprises even those re- 
sponsible for giving it life. 



L 



J 



tions. In the courseof wheeling and dealing, 
NBC traded Buck back to us in exchange 
for other considerations." 

The original deal with NBC called for the 
production of three Buck Rogers TV 
movies, which would act as a series of 
pilots. "But," says Stevens, "at this point 
we are not going ahead with the other two 
Buck Rogers stories." The project is now 
completely disassociated from NBC. 
"Buck is now a free ball. It can later be sold 
to any network, or it can act as a pilot for a 
series — as virtually every film does nowa- 
days. I mean, you get one picture like Ani- 
mal House and suddenly there are a dozen 
projects for TV that stem from it." 

Stevens (see interview in future #7) 
works under executive producer Glen A. 
Larson— who also heads the production 




staff for ABC's Battlestar Galactica. Lar- 
son and Stevens were determined, from the 
outset, that Buck and Battlestar were to be 
kept separate— both for legal and artistic 
reasons. But the best-laid plans 

"From the beginning," says Stevens, 
"we smelled that Battlestar Galactica could 
be a fine shot at a corner of the Star Wars 
market. And we were right. In theatrical re- 
lease, Galactica beat out Grease and Jaws II 
in Japan and Canada. And it has been 
shown theatrically in this country in a few 
test locations— after being shown on TV— 
and it did very good business. 

"We could smell this kind of success be- 
cause of the sheer brute brilliance of John 
Dykstra— who did the effects for Star Wars 
before coining to Galactica. This was quite 
apart from any considerations of story and 
character. The effects in Galactica were 
simply dazzling. But the powers at Univer- 
sal — some of them have the idea that any- 
thing produced for TV has to be of inferior 
quality — turned us down when we sug- 
gested Galactica as a feature rather than a 
TV show. 

"When it became obvious that they 
should have released Galactica as a feature, 
Glen Larson went back to them and said, 
'Now don't make the same mistake twice!' 
That's when we started negotiations to get 
Buck back from NBC." 

Buck and Galactica are entangled in an 
even more crucial way now. Stevens ex- 
plains: "When John Dykstra left Galactica 
to go off and film Paddy Cheyevsky's Al- 
tered States, that left a gaping hole in Galac- 
tica. We had to pull the people off Buck 
Rogers special effects to bail out Galactica. 

51 



[Buck Rogers effects people are from the 
talent pool of Douglas Trumbull's Future 
General Company.] 

"So now things are moving very slowly 
on Buck Rogers. We have 62 special-effects 
shots yet to be done." If Buck Rogers fails 
to make its March 30 deadline, this will like- 
ly be the reason. 

This is Gil Gerard's impression as well, 
"the picture is essentially finished," he 
says, "except for special effects and about 
four days of additional scenes to be shot. 
I'm trying to talk Glen into adding a short 
confrontation toward the end between 
Buck and Tigerman— to make the end 
more staisfying. Then we'll beef up the 
climax a little, if necessary; we'll look at it 
after the special effects are added. I saw an 
assemblage of the scenes the other day, and 
every so often there'd be a lot of blank film, 



surprises we're coming to work and walking 
into those sets! Ardala's bedroom is unbe- 
lievable. There's a heated pool in it, with 
snakes inside which operate on sound im- 
pulses. The imagination of those people is 
just incredible. 

"There's a landfill area on the Universal 
back lot which the set people turned into a 
setting of tombstones in half a day. With the 
lighting and the fog, it looks like something 
out of Dracula. 

"Then I was frozen— that was unusual. I 
assumed I'd be in the makeup department 
all day getting ready for that one, but it 



They had to stop and take off their cos- 
tumes occasionally, to keep from passing 
out." 

Gil Gerard might well be on the verge of 
super-stardom when Buck Rogers is re- 
leased. It is, in almost every sense, his 
movie. "It's a very heavy load," he says, 
' 'carrying a whole picture. You pretty much 
have to play yourself— hoping your own 
charm and wit carries on the screen. 

"As acting jobs go, this one wasn't as 
heavy as the dramatic role I had in The Kill- 
ing Stone. The big problem with Buck was 
keeping him humorous without diluting the 




Right: Felix Silva, in the role of Twiki, Buck's 
companion robot (inset) had some hot times under 
set lights. Says producer Stevens: "We kept frying 
our midgets." Above: Buck awakens to the evil forces 



with the sign, 'Special effects to be 
added.'" 

For Gerard, the absence of effects makes 
the quality of the product difficult to judge. 
"In a science-fiction film like this, all the ac- 
tion is in the effects and miniatures. It seem- 
ed like all /was doing was running up and 
down corridors! 

"I'll tell you what's peculiar. Doing a 
space fight scene in front of a blue screen, so 
effects can be added later. The only thing 
that moves is the camera. My biggest prob- 
lem was: where do I react? Where is the ex- 
plosion the script talks about? When I look- 
ed out of the cockpit, there was nothing 
there. That got a little hairy. I finally just 
gave them a number of reactions, in differ- 
ent directions, so they could pick . 

"In most ways, though, it was just like 
making any other film. I guess my biggest 
52 



turned out to be only a five-minute job. 
They sprayed me all over— hair, face, 
uniform and everything— with an ordinary, 
commercially available dry shampoo. But 
then I couldn't open my eyes or move any- 
thing. So while I was waiting to be photo- 
graphed, I went to sleep for about 45 
minutes. When I woke up, the scene was 
over. Now that's real acting! On the screen, 
I look very frozen." 

Leslie Stevens agrees that overall, the 
production of Buck Rogers gave rise to no 
unique difficulties. "Except for some 
dumb problems— like Wjlma's hair. She 
had to be a blonde, and Erin Gray's a bru- 
nette. She must have dyed her hair a dozen 
times trying to get something that looked 
right. And we kept frying our midgets. Peo- 
ple just don't realize how difficult a job it is 
being inside a robot, under all those lights. 



jeopardy. If he was too much a wise guy 
when he was captured, you wouldn't take 
his dire situation seriously. And timing was 
difficult— making the comedy work with- 
out letting it become campy." 

Looking back over the months of pro- 
duction, Gerard sounds more like an audi- 
ence member than a participant in the film. 
"It was fun, all of it. There I was with all 
these big toys to play with— like the mock- 
up of the space shuttle. I was an airline pilot, 
a space pilot, with my hands on controls 
that really worked. They even had the battle 
scenes programmed into the ship's TV 
screens. It was wild! It was so easy for me to 
get into something like that." 

Surely that "fun" will rub off on au- 
diences as Buck Rogers careens into the 
25th century — and movie theaters — on, or 
slightly after, March 30. * 



"Galactica" Bridge 



(continued from page 30) 



ship. This same image appears on displays 
on the bridge, if asked for. 

The Tektronix monitors on the set are 
those with green screens. These have an 
ability, for which Tektronix holds a patent, 
which was of special advantage. The image 
on the screen is held stationary by excited 
phosphors — not by scanning lines like TV. 
With the green screens, there is no need to 
match the framing of the image with the 
framing of the film cameras — since the 
Tektronix screens have no frames at all. The 
feature is called Strato-Graphics. ' 'The only 
limitation," says Neuland, "is that once 
you've put up an image, you can't move it. 
You can only erase it and replace it with an- 
other image." This was no drawback at all 
in the Galactica application. We see these 
screens registering images of wave forms, 
graphs, blueprints, words and numerals. 

For real-time computer animation, 
sometimes in three dimensions, a special 
console was installed at Adama's station. 
The Tektronix screen is on his right. This 
unit can generate not only its own complex 
images, but can display a duplicate of any 
image on any of the other stations' screens. 
Adama's post is atop a revolving cylinder; 
the computer-animator is built into the base 
of it. 

In addition to these conspicuous items, 
Tektronix supplied the myriad operational 
panels on the walls of the various stations. 
These panels contain buttons, switches, 
lights, LED displays and other flickering 
electronics. 

A truly remarkable aspect of all this is 
that the system is actor-activated. Those 
people at the helm and down in the pit have 
their operating instructions incorporated 
into their scripts. 

"There is a sequence where an invalid 
fighter is in trouble and trying to land on the 
Galactica" Neuland recalls. "He needs the 
support of what they call a system analyst. 
She goes to the main station and calls up 
certain information. We taught her the se- 
quence, just like anyone would be taught it, 
as if all this were really going on. She caused 
it to happen. And even down in the area op- 
erated by the 10 smaller computers, they 
have the ability to call up a display-type 
piece of information, take it away, call up a 
different one, interrupt a program in pro- 
gress and load another program from the 
tape. It's totally under the actors' control. " 

Some displays are more passive. They 
consist of oscilloscopes and other instru- 
ments which, according to the fiction, are 
constantly displaying the condition of the 
ship. These are fed by signal generators 
built by Universal Studios' technicians 
under Tektronix supervision. "We call 
them our little black boxes," says Michaels. 
"They're all along the backside of the set, 
and underneath it." These boxes feed the 
signals that simulate non-existent func- 



tions. "We don't actually have an engine," 
Michaels explains, "but we made a compo- 
nent that would generate displays that 
would come from heat sensors — as if the 
signals were coming from the engine." 

Other instruments just "talk to them- 
selves" — display random, constantly chang- 
ing data, to suggest constant monitoring of 
something or other. 

Neuland estimates that the roughly 800 
pieces of Tektronix equipment represent an 
expense of nearly $450,000. Michaels re- 
members that the overall construction of 
the bridge set cost "around $850,000." 
Then he shrugs, indicating the incomplete- 
ness of the figure, and adds, "I completely 
forgot about another $23,000 for TV moni- 
tors!" 

Those monitors are in a totally different 
system, apart from, but linked with, the 
Tektronix system. These are the monitors 
that show television pictures of communi- 
cating faces, planetary surfaces and the like. 
This system — built by Universal technicians 
— operates off a multi-track videotape fa- 
cility stationed in a small room off in a dark 
corner of Stage 27, just outside the bridge 
set. The TV system is not actor-activated 
but is cued by a script director. What mar- 
ries this system to the Tektronix instru- 
ments, confusing viewer identification, is 
that many of the animation sequences, 
schematics, War Book entries, etc., from 
the Tektronix network have been video- 
taped, loaded onto the TV system and can 
be piped to non-Tektronix TV monitors on 
the set. Thus, Adama's triple-screen moni- 
tor (on his left) which is part of the ordinary 
TV system, can show first the faces of pilots 
making reports, then schematics from the 
War Book, then a three-dimensional line 
animation. 

If it seems probable that all this equip- 
ment, operating simultaneously with the 
normal stage lighting and camera electrics, 
might be black-out prone — rest assured. A 
completely separate power line was installed 
solely to feed the computer and videotape 
electronics of the bridge set decorations. 

Michaels and Neuland are already plan- 
ning improvements for next season. They 
want to convert the now black-and-white- 
only monitors to color. 

"I have done a lot of big movies here at 
Universal," says Michaels, clearly still 
amazed, "and I can't think of anything 
we've ever done, movies or TV, as big as 
Galactica." 

And there's probably nothing that indi- 
cates the sheer scope of the project better 
than Galactica's bridge set— for which we 
have Glen Larson, Leslie Stevens, Jack 
Chilberg, Richard James (Chilberg's assis- 
tant on the pilot and now series art director), 
John Dykstra (indirectly), Mickey 
Michaels, Timothy Neuland and Tektronix 
to thank. • 



FUTURE 
CONVENTIONS 



Here is the latest listing of the upcoming conventions. If 
you have any questions about the cons listed . please send a 
self-addressed, stamped envelope to the address below 
the name of the con. As always, guests and features are 
subject to last-minute changes. Conventioneers, please 
note: to insure that your con is listed on our calendar, 
please send all pertinent information no later than 1 5 weeks 
prior to the event to: STARL0G Convention Calendar, 475 
Park Ave. South, New York, NY 10016. 



SCIENCE FICTION WEEKEND 

BuenaPark.CA March 23-24, 1979 

Science Fiction Weekend, FPCI 
1855 West Main Street 
Alhambra, CA 91801 



March 24-25, 1979 



March 29-April 1,1979 



March 30-31, 1979 



March 30-April 1,1979 



SCI-FI '79 

West Orange, NJ 

Sci-fi 79 

105 Houston Street 

Newark, NJ 07105 

AGGIECON X (SF) 

Texas A4M University, TX 

Aggiecon X 

Memorial Student Center 

Box 5718 

College Station, TX 77844 

0RANGEC0N '79 (SF) 

Oralando, FL 
Orangecon '79 
P.O. Box 15072 B 
Oralando, FL 32858 

M0N CON III (SF, Fantasy, Coihix) 

Morgantown.WV March 30-April 1,1979 

Mon Con III 

West Virginia University Conference Center 
Morgantown, WV 26506 

STAG/EMPATHY MI0I-C0N (ST) 

Leeds, England March 31 -April 1,1979 

Janet Quarton 

Star Trek Action Group 

15 Letter Daill 

Cairnbaan. Lochgilphead 

Argie, Scotland 

LUNAC0N '79 (SF) 

Flushing, NY 
Lunacon '79 
c/o Walter R. Cole 
1171 East 8th Street 
Brooklyn, NY 11230 

MIAMIC0N II (SF, Comics) 

Miami, FL April 6-8, 1979 

Miamicon II 
P.O. Box601115 
Miami, FL 33160 

STELLARCON IV (SF, Fantasy) 

Greensboro, NC April 6-8, 1979 

Science-Fiction Fantasy Federation 

Box 6, EUC 

UNC-G 

Greensboro, NC 27412 

SF, HORROR & FANTASY CON 

Los Angeles, CA April 13-1 5, 1979 

SF, Horror & Fantasy Con 
P.O. Box 69157 
Hollywood, CA 90069 

ALIEN ENCOUNTER 2 (SF, Fantasy) 

St. Petersburg, a April 14-15, 1979 

Alien Encounter 2 
USP P.O. Box 10354 
St. Petersburg, FL 33733 



ATTENTION CONVENTIONEERS: STARL0G #23 (on sale 
May 8th) will feature a special two-column Future Conven- 
tions listing with all the conventions coming this summer. 
All convention information must be in our office no later than 
March 21st to qualify. Due to space limitations, STARL0G 
cannot guarantee that all conventions will be listed. 



53 



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Quarterbacks of the Gods or Warren Beatified 



The poster shows Warren Beatty in sweatsuit, sneakers and 
feathery wings against fluffy-cloud sky, lit by beams of angelic 
luminescence. It is startling, but it works. It seizes your atten- 
tion, and it tells you that Warren Beatty of Shampoo, Bonnie and 
Clyde and The Parallax tfewis the star 
of HeavenCan Wait— a remake of //ere 
Comes Mr. Jordan. 

But then this picture is a confection of 
pleasant surprises; it is one helluva good 
movie, a well-crafted piece of work on 
every count. The script is clever and 
well-paced, the performances are deli- 
cious and the direction. . .well, the di- 
rection of Heaven Can Wait is just a little 
bit better than inspired, it is exquisite. 
There are moments here and there that 
are sublime. 

Heaven Can Wait is almost as good as 
Star Wars. 
I say almost. 
Because there was something about 




r 





this- Warren Beatty is a quarterback for the Los Angeles Rams and 
his overriding goal in life is to lead his team to victory in the Super- 
bowl Except— there's this heavenly error: an apprentice angel, 
Buck Henry, thinking Beatty is about to be killed in a bicycling acci- 
dent, takes his soul out of his body pre- 
maturely, because "it looked like it 
would be very painful." 

This is a key plot point— it establishes 
that Heaven is not perfect. Heaven 
makes mistakes too! The notion is per- 
haps particularly timely— all of the 
other great institutions of history have 
eventually fallen prey to their own im- 
perfections. Why not this, the greatest - 
institution of all, as well? The book- 
keeping must be horrendous, the possi- 
bility for error fantastic. And after all, 
any God that could conceive of a Uni- 
verse run by Murphy's Law (if some- 
thing can go wrong, it will) might not be 
immune to it himself. 



Wwk 



Above: The theatrical poster 
for the film. Other photos 
show Beatty in various stages 
ot being maneuvered through 
his new life by his angel, 
Mr. Jordan. The hero does 
not get to exercise his will. 



A 



the ending that left me feeling a 
little unsatisfied, and when a pic- 
ture does that, there's something 
wrong somewhere— it may be a 
miniscule thing, but if it's big 
enough to leave an unfinished 
feeling in a viewer, then it's big 
enough to be a flaw. 

In Heaven Can Wait, it is this: 
the picture is fun, it pleases and 
delights, but ultimately, it cheats 
us out of a hero because the pro- 
tagonist isn't allowed to be heroic 
enough within his situation. 

Bear with me. It takes a bit of 
explaining. 

The premise of the picture is 




V 



In any case, the error has to be rectified 
somehow. Buck Henry's supervisor, Mr. 
Jordan, played by James Mason (who has 
been absent from the screen for far too 
long), instructs Buck Henry to return War- 
ren Beatty's sbul to his body. Unfortun- 
ately, they're a little too late. The body has 
already been cremated. Returning to Limbo 
(or wherever it is that the heavenly SSTs de- 
part from) a justifiably incensed Warren 
Beatty demands that the powers-that-be re- 
turn to him the unused portion of his life. 
Mr. Jordan agrees to find our hero a new 
body. 



56 



A Column by David Gerrold 




After a few tries, they settle on the body, 
life and identity of a youngish oil millionaire 
who has just been murdered by his wife, 
Dyan Cannon, and personal secretary, 
Charles Grodin, who are also sharing an 
illicit love affair. (Their performances, by 
the way, are showstoppers.) They are 
astonished at his resurrection to life and re- 
commit themselves to his murder. As the 
picture progresses, their schemes become 
wilder and wilder. 

Meanwhile, Beatty is interested only in 
winning that Superbowl and he proceeds 
innocently and directly toward that end. He 
goes immediately back into training, hiring 
his old coach, Jack Warden, to help him. 
He also purchases the Rams — that being the 
easiest way to put himself back in as 
quarterback. Innocent and direct. 

Along the way, he readdresses the policy 
of his oil company: "Why not be good 
guys?"heasksata meeting ; a question that 
perhaps a lot of other American corpora- 
tions might ask themselves, this being an era 
of distrust. He also meets and falls in love 
with Julie Christie, a feisty activist with a 
case against his company's expansion 
plans. 

So far so good. Heaven Can Wait 
proceeds to this point with nary a misstep 
and more than a few well-deserved out- 
breaks of spontaneous applause and laugh- 
ter from its audiences. Unfortunately, it's in 

the last reel that the storyline is fumbled 

Abruptly, Mr. Jordan reappears and tells 
Beatty that it's time for this body to die. 
Sorry, but that's the breaks; this was only a 
temporary body anyway and they've found 
him a new one, much more appropriate: the 
other quarterback on the Rams! Conven- 
iently it's his time to die now and Beatty can 
take over his life and the natural order of the 
way things should have worked out all 
along will then be able to continue — 

Well. . .all right. The film is convincing 
enough . . . but this ending leaves Julie 
Christie and Jack Warden with egg on their 
faces in a couple of uncomfortable and em- 
barrassing scenes. Worse, the implication is 
that Heaven (a) can make mistakes, and (b) 
doesn't have to make full restitution. If 
there were a higher court to appeal to, 
Beatty would have a damn good case. 
According to Kingsfield on Contract Law, 
the party causing the liability has to return 
the property to original condition, in this 
case, one life. Heaven's arbitrary switch at 
this point is a violation of the conditions of 
the contract. 

Our hero has been pushed around by the 
higher powers — in this case, the highest 



powers — and never gets a chance to seize 
control of his own destiny. And, that's a 
storytelling flaw. 

So... I'd like to suggest an alternate 
ending for Heaven Can Wait. 

As before, Mr. Jordan reappears and tells 
Beatty that he has to die again because this 
body was only temporary, and they're 
found another one for him. Beatty protests, 
he like this body, he likes this life, but Mr. 
Jordan insists. There is a gunshot and 
Beatty topples into the well, dead, mur- 
dered by Dyan Cannon and Charles 
Grodin, this time successfully. 

So far, just like before. 

But here's the change: Beatty refuses to 
cooperate with Mr. Jordan any more. He 
gets angry, he refuses to go. He says, 
"Look — this has been your mistake all 
along. Why should I have to bear the brunt 
of paying for it? I wasn't supposed to die in 
the first place! Your representative took me 
out of my body at the wrong time! Now 
you're telling me I have to accept whatever 
you want to dish out! Well, that's not fair. 
I'm mad as hell and I'm not going to take it 
any more! So far, it's been all mistakes — 
well, the world can't always go wrong. Once 
in a while, things have to work out right and 
this is as good a time and place as any!" 
And then he climbs back into the murdered 
body (as before; he should be getting the 
hang of it now), climbs up out of the well 
and stomps into the drawing room where 
everyone has been gathered for questioning 
by Vince Guardenia, the representative of 
the local constabulary who is investigating 
Beatty's "disappearance." Dyan Cannon 
and Charles Grodin proceed to discredit 
themselves, as before, and Beatty can then 
go on and win the football game, and every- 
thing gets finished up in a nice tidy way with 
no loose strings. 

Mr. Jordan can protest at the end that 
there will be Hell to pay, and Beatty can 
respond, "Heaven can wait! You guys had 
your chance and you only made a bigger 
mess. Now it's my turn to try." End of 
story. 

I would have preferred an ending like this 
for two reasons: 

First, it avoids the contrived scene of 
Beatty and Christie rediscovering each 
other again after he has been inserted into 
his new life, as well as the uncomfortable 
piece of business with Jack Warden not 
understanding why Beatty doesn't re- 
member his past any more. (Mr. Jordan has 
made him forget — and that's another 
point. If a hero is going to forget everything 
that has happened to him, then he's being 



denied the opportunity to learn from the 
events — he need never ask, "Will I like 
myself after I do this?") 

Second, this new ending is more in keep- 
ing with the traditional form of story- 
telling — you put the hero into a situation 
and then you let him work it out without 
changing the conditions of the problem 
around him, because that's cheating. 

Besides, whether the Universe cares 
about humanity or not is ultimately unim- 
portant, because either way, it is up to 
humanity itself to shape its own destiny — 
trusting the good intentions of anyone else, 
even Heaven, is to abrogate our own 
responsibility for our own selves. 

And that's the flaw. Beatty looked like a 
hero all the way through the picture, but 
when the crunch finally came, he wasn't 
allowed to act a hero to the limit and the 
lack is apparent, because up to that time the 
film had been demonstrating to us he was a 
hero in everything he said and did. 

This is the bottom line of storytelling: a 
hero is a hero because of the battle he fights. 
The conflict he confronts, the challenge he 
accepts, the decision he decides, the 
responsibility he assumes and the conse- 
quences thereof — however you say it, the 
size of the obstacle determines the size of the 
hero. The greater the problem, the greater 
the person must be to master it . . . and if 
you deny the hero the opportunity to con- 
front that problem, if you take away his 
chance to make a decision, to act on it and 
deal with its consequences, be they good or 
bad, then you are denying him also the 
chance to be heroic. If you take him out of 
one situation and thrust him willy-nilly into 
the next, then he is not acting on the 
situation, it is acting on him, and he is no 
longer a hero at all, merely another kind of 
victim. 

This is the difference between heroes and 
victims: a victim allows life to act on him 
and "therefore he will never rise beyond his 
own limitations. A hero acts on life and in 
so doing, he causes change not only in 
himself, but in others. Each challenge that a 
hero confronts is not just a single problem 
in itself to be mastered, it is also training in 
the art of handling challenges and prepares 
him for the greater challenges to come. 

Solomon Short says it this way: "The size 
of the challenge that a person accepts is a 
pretty good indicator of the size of his/her 
soul." 

Heaven Can Wait has soul, a lot of it, 
but it fumbled its last and biggest challenge 
five yards from the goal. Damn. I was 
rooting for them to go all the way. 

57 




Science Fiction In Styrene 

A History of Plastic Space Model Kits A 



By ANDREW P. YANCHUS 

ntil recently, before the likes of Star 
Wars and Battlestar Galactica, only 
science-fiction literature enjoyed a 
consistent year-after-year popularity, while 
SF films and TV series struggled for sur- 
vival, fighting to satisfy the always-chang- 
ing tastes of the masses. Likewise, the sci- 



Andy Yanchus is a modeling enthusiast 
who spent nine years working in the 
Research & Development Dept. of Aurora 
Products. As project manager, he oversaw 
development of many lines of plastic hob- 
by kits. Yanchus presently works for 
Marvel Comics as research coordinator for 
the coloring, editorial and merchandising 
departments, and is the regular colorist of 
Marvel's Shogun Warriors comic. 




Look closely at these two models of the 
Orion craft from 2001. At first glance 
they may look like identical twins but 
they're not; the most glaring differences 
are in the wing designs'. The Orion on the 
left is from Aurora, the one on the right 
is from Airfix. 




ence-fiction segment of the plastic hobby 
kit field has always been at the mercy of the 
public whim. But today plastic models are 
riding the wake of the seemingly endless SF 
media wave. Though science- fiction models 
are more popular now than ever before, 
their history is one of ups and downs, with 
manufacturers scrambling to keep popular 
heroes and spaceships in molded plastic. 

Tremendous expenses in the. develop- 
ment and production of a model force the 
manufacturer to sell thousands of kits 
before a profit is ever realized. This means 
that models have to be instantly recogniz- 
able and visually appealing. Science-fiction 
fans look for their heroes from popular 
movies, TV shows and comic strips, or 
some of the SF basic staples: flying saucers, 
aliens, giant insects. Kits of vehicles or char- 
acters based directly on novels or short 
stories don't eo over as well, since everyone 



has a different idea of what these invisible 
subjects should look like. 

With this in mind, it's not surprising that 
one of the greatest influences in establishing 
the space kit field has been the actual space 
program itself. Even though many serious 
proposals by leading space experts never got 
off the ground, they did lead to ideas for 
plastic kits. 

In the Beginning 

The first spaceship kits were, as far as can 
be determined, a series of six wooden Buck 
Rogers models produced in 1934. Based on 
the popular comic strip, these kits, in- 
cluding such classics as the "Flash Blast At- 
tack Ship" and the "Venus Fighting De- 
stroyer," came complete with sandpaper 
and paint. Another early wooden kit was 
one of the Space Ark from the film fVhen 



Worlds Collide (1951), but specific details 
about it are hard to find. 

Plastic replaced wood as the most 
popular hobby kit material in the early 
1950s. Lindberg Products produced the 
first plastic science- fiction kit — a flying 
saucer. This simple, 10-piece kit, complete 
with a little green pilot (a Martian, no 
doubt), first appeared in 1953. While the 
saucer was considered a novelty, none of the 
other hobby kit manufacturers thought of 
doing anything similar. 

By 1956, America's progress in missile 
and space technology had garnered enough 
public interest to spark the Hawk Model 
Co. into producing a kit of a four-stage 
rocket that Hawk claimed was America's 
upcoming ICBM, the Atlas. In truth, the 
model was an original Hawk design that 
bore no resemblance to the Atlas ICBM 
flown two years later. 





«tm* 




Tod- Mr Spock battles a three-headed nemesis. This is the hanc 
carved acetate pattern for Aurora's Spock kit. For publicity 
photos, sculptor Bill Lemon used removable Artone acetate ink to 
color the pattern. Bottom left. Star Wars' renowned «*»&cduo. 




same kits are available in England from Denys Fisher. Bottom 
right: Disney's Moonliner from Strombecker. The park attraction 
had its markings changed from "TWA" to "Douglas Aircraft. 



Space kits really took off in 1956 after 
Walt Disney televised Man in Space; Strom- 
becker followed with a plastic kit of the 
Wernher von Braun-designed rocket used 
in the film. Strombecker quickly followed 
this with a miniature TWA Moonliner, a 
popular Disneyland attraction. Over the 
next two years, Strombecker introduced ad- 
ditional von Braun designs featured in the 
Disney "Tomorrowland" TV episodes 
— the Space Station, the RM-1 Rocket Ship 
and the Satellite Launcher. 

The eventful launching of Sputnik in Oc- 
tober 1957 not only marked the beginning 
of the Space Age, but also a time of intense 
public interest in missiles of all types. Nearly 
every plastic kit manufacturer started 
"tooling up" all sorts of designs: anti-air- 
craft missiles, ICBMs and future satellite 
launchers. Kits of existing hardware and 
serious proposals of things to come in space 
exploration received increased public atten- 
tion over the next few years. 

Those first Strombecker kits carried the 
Disney name, and had von Braun to back 
up their credibility. This combination prov- 
ed hard to beat, and prompted other kit 
makers to go to other noted sources for 
their futuristic designs. Revell went to Ell- 
wyn E. Angle and Systems Laboratories, 
Inc. for their XSL-01 Moon Rocket and 
Space Station designs. Monogram Models 
manufactured four kits designed by Willy 
Ley. Strombecker continued their space line 
with three vehicles designed by Krafft 
Ehricke who, at that time, was working for 
Convair. These included a Moonship, an in- 
terplanetary vehicle and a manned space 
station that used expended rocket fuel and 
oxidizer tanks as the main construction ele- 
ments. Ehricke/Convair designs were also 
transformed into kits by two other manu- 
facturers. Revell produced both an early 
space shuttle design and a nuclear-powered 
Moon lander, the Helios. And Hawk did a 
manned space station based on the Atlas 
ICBM (the real one, this time). 

However, not all the futuristic kits of this 
period had big-name scientific backing. 
Lindberg's Satellite Launcher, Multi-Stage 
Transport Rocket, Space Station and U.S. 
Moon Ship were all original creations, 
although influenced by other serious pro- 
posals. Hawk's atomic-powered bomber, 
Beta I, was another original kit design, but 
one that Hawk claimed was deemed feasible 
by a leading aircraft manufacturer. Another 
nuclear airplane, the more peaceful Im- 
petus airliner, signaled Aurora Plastics' first 
of many entries into the science-fiction 
field. 

Media Dlitz 

Kits of imaginative space vehicles disap- 
peared during the first half of the 1960s. 
The primitive, actual spacecraft of the real- 
life astronauts made the earlier, more fan- 
ciful designs obsolete, and new ones stop- 



ped appearing. Revell's Flash Gordon, 
released in 1965, became the only new sci- 
ence-fiction-oriented kit to appear in five 
years. At about the same time, they released 
another of King Features' comic-strip char- 
acters — The Phantom. Revell wanted to 
cash in on the comic-book category opened 
up by Aurora the year before, but had no 
intentions of starting another major sci- 
ence-fiction series. 

In 1966, the SF kit modeling field saw 
more changes. The space program was 
working toward a landing on the Moon, 
and public interest in space rose once again. 
Hawk took two of its old kits, the fictitious 
"Atlas" and the Convair Atlas Space Sta- 
tion, and gave them more contemporary 
names — Saturn and Manned Orbiting Lab- 
oratory. The renamed models probably 
didn't fool too many people, but it was nice 
to have the kits back. This same year, 




The handmade pattern for this spacecraft | 
from Land of the Giants was the same 
size as the finished kit and contained g 

all the same details. 

Eldon, a toy company, experimented with a 
line of framed, three-dimensional scene kits 
of various subjects. One, entitled "Moon 
Survey," consisted of two astronauts and a 
four-legged robot called the Beetle. 

1966 also served as a major breakthrough 
year for Aurora Plastics. Although sur- 
passed by many other companies in the 
range of serious aircraft, ship and auto- 
mobile kits, Aurora became the undisputed 
leader in kits of offbeat and imaginative 
subject matter. They broke new ground 
with plastic kits of movie monsters and 
comic-book heroes, and, in '66, they en- 
tered the realm of TV and movie science fic- 
tion with a kit of the Seaview from Voyage 
to the Bottom of the Sea. Seaview proved a 
success and over the next few years Aurora 
went on to produce kits of vehicles and 
characters from Lost in Space, 2001: A 



Space Odyssey, The Invaders, Land of the 
Giants, Fantastic Voyage and Dick Tracy. 
Somehow, the AMT Corporation, in- 
stead of Aurora, received the license to pro- 
duce kits based on Star Trek. Their Enter- 
prise landed in the stores early in 1967, 
establishing itself as an instant hit. Demand 
for the kit grew to be so great that AMT 
built a second set of molds to increase pro- 
duction. The next year, the Klingon Battle 
Cruiser was introduced. Although both 
Star Trek kits sold extremely well, AMT de- 
cided not to bother with either foreign mar- 
kets or figure kits. So Aurora picked up on 
the Star Trek act. Aurora's British office 
obtained the rights to the foreign Star Trek 
kits, leasing the existing molds from AMT. 
Stateside, Aurora, by now the most prolific 
figure kit manufacturer, got to work on a 
model of the incredibly popular Mr. Spock . 
Unfortunately, by the time the pattern was 
finished, trouble set in. Aurora had eco- 
nomic second thoughts about paying a 
double royalty (to Paramount and AMT) 
for U.S. production of the kit, and, at the 
same time, NBC was doubting the future of 
Star Trek. As a result, the Spock pattern 
never made it beyond the vault of Aurora's 
Research & Development Dept., where it 
lay forgotten for years. 

In 1968, Aurora's British editions of the 
Enterprise and Klingon ship were hardly 
alone among science-fiction kits on the 
market in England. That year, Airfix releas- 
ed their kit of the Angel Interceptor from 
Gerry Anderson's Captain Scarlet TV 
series, and the next year followed with the 
Orion from 2001. And these were not the 
first science-fiction kits produced by Airfix. 
Back in 1965, they offered the Stingray sub- 
marine from Anderson's series as a special 
premium for Lyons Maid ice cream. (In- 
deed, another Anderson creation, Fireball 
XL-5, was produced even earlier, in 1963, 
by Kitmaster.) 

The early Apollo flights, along with the 
manned landings on the Moon, rekindled 
interest in space kits both real and imag- 
inary. Early in 1969, Revell and Monogram 
reissued old kits in new guises. Revell, for 
some reason, took a campy, pop-art ap- 
proach to packaging and markings on their 
two reissues. The Convair Helios became 
the Solaris, and the Angle Moon Ship and 
Convair Shuttle model-morphosed into a 
set called Space Pursuit. With only slight 
color and marking changes, Monogram re- 
issued Willy Ley's Space Taxi, dubbing it 
the Space Buggy. 

Possessing no backlog of old space kits to 
reissue, AMT came up with two new ap- 
proaches to the hobby kit space race. They 
hit with the Leif Ericson Galactic Cruiser, 
intended to be the first of a series of original 
spaceship designs of the "Strategic Space 
Command." Printed on the assembly in- 
structions was a short story involving Space 
Midshipman Lancer Scott. 

AMT's other imaginative kit for 1969 



61 



\m0=r 




Flying Saucer 
packaging, 1953 
(top) and 1978. 



First SF kit. 

It was inspired 

by UFO reports. 



SF MODEL CHECKLIST 




The following list is a compilation of all the 
fictitious spacecraft, science-fiction figures 
and futuristic vehicles that have been pro- 
duced in plastic kit form in the United States and 
England. Superheroes and horror monsters have 
been excluded. The list contains the following 
information — 

Kit name: The name of the item as it appears 
on the packaging. Note that this may not always 
be an accurate or complete description of the 
subject. 

Manufacturer: The company that produced the 
kit. This can be either the original manufacturer, 
or the company producing the kit under license in 
another country. 

Note that MPC (Model Products Corp.) is 
now part of the Fundimentions subsidiary of 



General Mills. The names MPC and Fundimen- 
tions have both been used on various kits. For 
simplicity, MPC has been used here to identify all 
MPC/Fundimentions kits. 
Kit #: The stock ordering number. Over the years, 
a kit may have more than one number, or the 
same number may be assigned to two or more 
different kits. 

Scale: The fractional relationship of the model to 
the real thing. Most scales should be considered 
as approximations. The "actual" dimensions of 
many vehicles are unknown, and scales had to be 
determined by measuring figures included in the 
kits, or by sizing known details such as doorways, 
hatches and seats. 

Years: The production life of the kit. These are 
the dates that the kit was introduced and dis- 



continued. This information is based on re- 
corded purchase dates, copyrights and catalog 
appearances. 

Unfortunately, many of the kits listed have 
been out of production for several years, and are 
no longer generally available. The kit manufac- 
turers do not maintain stocks of discontinued 
items, so do not try to obtain old kits from them. 
Old kits can sometimes be found in small toy or 
variety stores, and at flea markets. Collectors can 
be reached through want ads placed in many of 
the current modeling magazines. 

One publication, the Kit Collector's Clearing- 
house, specializes in the buying, selling and trad- 
ing of old kits. It is available from John W. 
Burns, 3214 Hardy Drive, Edmond, Oklahoma 
73034. Cost is $5.00 for six bimonthly issues. 



MOW- 
Kit Nome rocturer Kit* 

SECTION I • FUTURISTIC DESIGNS 

SPACECRAFT (EARTH LAUNCHED) 
TV Orbiter Monogram 

Passenger Rocket Monogram 



Scale Remark* 



Years 



PS44 
PS47 



Orbital Rochet 
MonHn-Space Ship 

Space Ship 



Monogram PS46 
Strombecker D26 

Strambecker D26A 



Disneyland Rocket To The Strombecker D27 

Moon 

Disneyland Moonliner Strombecker D27A 

Satellite Louncher Strombecker D35 



Helios Nuclear Powered 
Lunar Landing Craft 
Atomic Space Explorer 

Solans 
Convair Space Shuttle 

Craft 
XSL-01 Manned Space 

Ship 


Revell 
Revel! 
Revell 


H-1829 
H-1851 
H-1828 


Revell 


H-1800 


Moon Ship 


Revell 


H-1825 


Space Pursuit 


Revell 


H-1850 


Atlas ICBM 


Hawk 


200 


Saturn Interplanetary 
Space Vehicle 


Hawk 


200 


Satellite with Three Stage 

Launching Rocket 
Communications Satellite 


Lindberg 
Lindberg 


1004 
1150 


Multi-Stage Transport 

Rocket 
Space Transport 


Lindberg 
Lindberg 


1001 
1149 


U.S.S. Explorer 


Lindberg 


1149 


Pilgrim Observer 


MPC 


9001 



1/96 Willy Ley design 59-60 

1/192 Willy Ley design tor a 2- 59-60 

stage civil transport with 

manned booster 
1/192 3-stage military version of 59-60 

above 
1/262 Wernher von Braun de- 55-58 

signed 4-stage rocket; used 

in Walt Disney film, yellow 

plastic 
1/262 Reboxed version of above, 58-60 

gray plastic 

TWA Moonliner Disneyland 56-58 

park attraction 

Reboxed version of above 58-60 
1/262 3-stoge version of von Braun 58-60 

manned rocket; molded in 

clear plastic with paper in- 
terior details 
1/160 KrafftEhricke/Convairdesign6C-63 

1/160 Pop art reissue of above 69-70 



1/150 
1/96 



1/96 



1/87 
1/87 



59-63 



Ehricke design for 4-stage 

shuttle 

Ellwyn E. Angle/Systems 

Laboratories design for 

3-stage Moon lander; de- 
tailed crew compartment 

Last stage of above as 

separate kit 

Pop art reissue of Shuttle 

Craft & Moon Ship 

Original 4-stage rocket 

design 

Reissue of above, 2 differ- 
ent boxes, 1st same as 

above with only name 

changed, 2nd completely 

new 
1/200 Original 3-stage rocket 

design 
1/200 "Mors Probe" sertes reissue 70-71 

of above 
1/200 Manned version of Satellite 58-64 

Louncher 
1/200 "Mars Probe' series reissue 70-71 

of above 
1/200 "Star Probe" series reissue 76 

of above 
1/100 Deep space probe & space 70-71 

station design 



58-59 



59*3 
69-70 



56*0 
67-72 



58*4 



Manu- 
Klt Name facrurer 

SPACECRAFT (VACUUM OPERATION) 

Space Taxi Monogram 

Space Buggy 
RM-1 Rocket Ship 



Kit" Scale Remarks 



Monogram 
Strombecker 



Moon Rocket Ship Selcol 

Convair Manned Lunar Re- Strombecker 

connaissance Vehicle 

Convair Manned Nuclear Strombecker 

Interplanetary vehicle 

U S. Moon Ship Lindberg 

Landing Module Lindberg 



Space Shuttle 

Leif Encson Galactic 

Cruiser 
U.F .0. Mystery Ship 



Lindberg 

AWT 
AMT 



PS45 
PS194 
D34 

503 
D37 

D38 

1003 
1147 

1147 

S954 

S960 



1/48 Willy Ley design 

1/48 Reissue of above 

1/72 Disney/von Broun design 
for Moon reconnaissance 

1/72 UK. issue of above 

1/91 Krafft Ehricke design 

1/91 Krafft Ehricke design 



Years 

59*0 

69-70 

57/58 

60 

58*0 

58-60 



1/70 
1/70 

1/70 



SPACE STATIONS 

Spoce Station Strombecker D32 

Space Station Selcol 501 

Convair Manned Observa- Strombecker D39 

tional Satellite Vehicle 

Space Station Revell H-1805 



Convair Manned Satellite Hawk 

Manned Orbiting Lab. Hawk 

US. Space Station Lindberg 

Spoce Station Lindberg 

Space Base Undberg 

OTHER VEHICLES 

AMTronic AMT 

Flying Saucer Lindberg 

Unidentified Flying Object Lindberg 



Beta-1 Atomic Powered 
Bomber 
Impetus 

Ragnarok Oribital 

Interceptor 
Time Machine 

OTHER FIGURES 
Moon Survey 

Rampaging Scorpion 
Rampaging Scorpion 
Colossal Mantis 
Colossol Mantis 
Gigantic Wasp 
Huge Tarantula 
Astronouts 



Hawk 

Aurora 

Aurora 

MPC 

Eldon 

MPC 
Airfix 
MPC 
Airfix 
MPC 
MPC 
Airfix 



Original Moon lander design 58-64 
"Mars Probe" series reissue 70-71 
of above 

"Star Probe" series reissue 76 
of obove 
1/635 Original design; with lights 69-71 

1/635 Glow-in-the-dark reissue of 74-77 
obove, without lights; 2 dif- 
ferent boxes 

1/300 Disney/von Broun wheel 57-60 

design 
1/300 U.K. issue of above 
1/198 Ehricke/Convair design 58-60 

1/96 Ellwyn Angle design; interior 59-61 

detail; seven smaller 

vehicles included 
1/98 Ehricke design based on 

Atlas ICBM, interior detail 
1/98 Reissue of obove 
1/350 Originol wheel design 
1/350 "Mars Probe" series reissue 70-71 

of above 
1/350 "Star Probe" series reissue 76 

of above 

1/25 2-in-l car of the 21st century 69-69 
1/48 First plastic SF kit; with 53-64 

little green man 
1/48 Glow-in-the-dark reissue of 78 

above 2 different boxes: 

green "UFO" 1st, red "UFO" 

2nd 
1/188 Original design; 2 different 59-69 

boxes 
1/200 Original nuclear-powered 60-65 

airliner design 
1/200 Reworked reissue of above 75-77 



1-0903 1/16 "Strange Change" series 74-74 



513 

551 

1002 

1148 

1148 



T363 
517 



514 
129 



251 



60-61 

68-70 
58-64 



2935 

1-0504 

05851-5 

1-0502 

05850-2 

1-0503 

1-0501 

S41 



I 76 



2 astronouts & robot in 
Moon scene 
"Gigantics" series 
U.K. issue of above 
"Gigantics" series 
U.K. issue of above 
"Gigantics" series 
"Gigantics" series 
Realistic U.S. astronauts & 
equipment, including some 
"advanced" hardware, soft 
polyethylene 



66-66 

75-76 
76-77 
75-76 
76-77 
75-76 
75-76 
71-76 



mmm 



Seaview from Voyage to the Bottom of the Sea 



Manu- 
Kit Nam* lacturet Kit* Seal* Remarks 

SECTION II - TV/MOVIES/COMICS 

BATTLESTAR GALACTIC* 



Years 



Space Fighter Raider 
Space Fighter Viper 


Monogram 
Monogram 


6026 
602? 


BIONIC WOMAN 

Bionic Repair 


MFC 


1-061C 


CAPTAIN SCARLET 

Angel Interceptor 


Airfix 


256 


DICK TRACY 

Space Coupe 


Aurora 


819 



Cylon craft; fires missiles 78 
Colonial croft; tires missiles 78 



Jaime Somers & Oscar 
Goldman 



76-77 



FANTASTIC VOYAGE 

The Voyager Aurora 



831 



1/72 U.K. 



1/72 Includes figures of Trocy, 68-70 
Jr., Moon Maid & Diet Smith 

1/96 From the TV cartoon series, 69-71 
not the film 



FIREBALL XL-S 












Fireball XL-5 


Kitmaster 






U.K. Known to be a Lyons 
Maid ice cream offer; not 
known if sold ds o regular 


63 


FLASH GORDON 








kit 




Flash Gordon & The 


Revell 


H-1450 


1/8 




65-66 


Martian 












THE INVADERS 












UFO 


Aurora 


813 


1/72 


Detailed interior 


68-71 


Flying Saucer 


Aurora 


266 


1/72 


Reissue of above; base and 75-77 










extra figures added 




LAND OF THE GIANTS 












Land of the Giants 


Aurora 


816 


1/48 


Giant rattlesnake attacking 
three of the crew 


68-71 


Spoceship 


Aurora 


830 


1/64 


Full interior detail 


69-71 


Rocket Transport Spindrift 


Aurora 


255 


1/64 


Reissue of above; new 
deeds 


75-77 


LOST IN SPACE - 












Lost In Spoce 


Aurora 


420 


1/32 


Robinson family, Cyclops & 
Chariot 


67-70 


Lost In Space 


Aurora 


419 


1/32 


Same as above, but without 67-70 
Chariot and on smaller base 


Robot 


Aurora 


418 


1/11 




68-70 


' Several kits of the Jupiter 2, Robot, and Chariot were produced in Japan by Maruson 




PLANET OF THE APES 












Caesar 


Addar 


106 


1/11 




74-76 


Cornelius 


Addar 


101 


1/11 




73-76 


Cornfield Roundup 


Addar 


216 


1/32 


"Super Scene" in o bottle 


75-76 


Dr. Zaius 


Addar 


102 


1/11 




73-76 


Dr. Zira 


Addar 


105 


1/11 




74-76 


General Aldo 


Addar 


104 


1/11 




74-76 


General Ursus 


Addar 


103 


1/11 




74-76 


Jail Wagon 


Addar 


217 


1/55 


"Super Scene" in a bottle 


75-76 


Stallion & Soldier 


Addar 


107 


1/12 




75-76 


Tree House 


Addar 


215 


1/32 


"Super Scene" in a bottle 


75-76 


SIX MILLION DOLLAR MAN 










Bionic Bustout 


MPC 


1-0601 


1/12 


Steve smashing jail door 


75-77 


Bionic Bustout 


Denys Fisher 


16025 


1/12 


U.K. issue of above 


75-77 


Evil Rider 


MPC 


1-0604 


1/12 


Steve upsets motorcycle 


76-77 


Bike Bully 


Denys Fisher 


16027 


1/12 


U.K. issue of above 


76-77 


Fight For Survival 


MPC 


1-0602 


1/12 


Steve throwing gorilla 


75-77 


Fight For Survival 


Denys fisher 


16026 


1/12 


U.K. issue of above 




Jaws of Doom 


MPC 


1-0603 


1/12 


Steve fights with alligator 


76-77 


Teeth of Terror 


Denys Fisher 


16028 


1/12 


U.K. issue of above 




SPACE: 1999 












The Alien 


MPC 


1-1902 


1/25 


Reworked kit of George 
Barns' show car "Moon- 
scope", alien figure added, 
no connection with the TV 
series 


76-77 


Alpha Moonbose 


MPC 


1-1903 




On vocuum formed base, 
larger scale Main Mission 
area also included 


76-77 


Eagle 1 Transporter 


MPC 


1-1901 






75-77 


Eagle Transport 


Airfix 


06174-8 




U.K. issue of above 


76 


Hawk 


MPC 


1-1904 






77-77 


Hawk Spoceship 


Airfix 


05173-2 




U.K. issue of above 


78 


STAR TREK 












Exploration Set 


AMT 


S958 




Phaser, Tricorder & Com- 
municator, each to a differ- 
ent scale; 2 different boxes 


74-77 


Galileo 7 


AMT 


S959 


1/35 


Enterprise Shuttlecraft, 2 
different boxes 


74-77 


K-7 Space Station 


AMT ' 


S955 


1/7600 From Trouble With Tribbles 76 


Klingon Battle Cruiser 


AMT 


S952 


1/635 


Originally had lights, later re- 73-77 










moved; 3 different boxes. 












out of production in 1972 




Klingon Battle Cruiser 


Aurora 


923 


1/635 


U.K. issue of obove 




Mr. Spock 


Aurora 


922 


1/12 


U.K. 


72 


Mr. Spock 


AMT 


S956 


1/12 


U.S. issue of above; 2 dif- 
ferent boxes 


73-75 


Romulon Bird of Prey 


AMT 


S957 






75 


Spoce Ships 


AMT 


S953 


1/2200 Sn 


76 










Klingon & Romulan 




USS Enterprise 


AMT 


921/S951 1/635 


Many changes from original 67 



USS Enterprise Aurora 921 

USS Enterprise Command AMT S950 

Bridge 



to current kit; 1st kit had 

lights; 4 different boxes; 2 kit 

numbers 
1/635 U.K. issue of above 
1/32 Includes figures of Kirk, 75 

Spock & Sulu 



The Invaders' flying 

saucer. 1975 reissue 

added extra aliens. 



Kit Name 

STAR WARS 

Darth Voder 

Darth Voder 

Darth Voder's TIE Fighter 

C-3P0 

Luke Skywalkers X-Wmg 

Fighter 
Millennium Falcon 

R2-D2 




Years 



MPC 
MPC 



MPC 
MPC 



1-1913 
1-1914 



1-1912 



STINGRAY 

Stingray 

Stingray 
Stingray 

THUNDERHRDS 

Thunderbird 1 
Thunderbird 2 
Thunderbird 5 



Airfix 

Paramount 4103 

Paramount 4101 



Imai/AHM 1-726 
Imai/AHM 1-721 
Imai/AHM 1-722 



2001: A SPACE ODYSSEY 

Pan Am Space Clipper Aurora 



Space Shuttle Orion 
Orion Spoce Clipper 



Moon Bus 



Aurora 
Airfix 



Aurora 



148 



252 
SK701 



829 



UNITED FEDERATION STAR FLEET 

Class 1 Destroyer Gamescience 

Class 1 Dreadnought Gamescience 

Class 1 Heavy Cruiser Gomescience 
Class 1 Scout Gamescience 



VOYAGE TO THE BOTTOM OF THE SEA 

Hying Sub Aurora 

Flying Sub' Aurora 

Seaview Aurora 

Seaview Aurora 



817 
254 
707 
253 



Head only; breathing sound; 78 

snap-together 

Full figure; ll'/2" tall; glue 79 

together 
1/48 Optional position landing 78 

gear 
1/8 Movable drms 77 

1/48 Movable wings; optional 78 

position landing gear 

18" long; lights; operation 79 

parts 
1/8 78 



U.K. Lyons Maid ice cream 65 
premium 

U.S. issue of large, electric- 69 
• powered Midori kit 
U.S. issue of small, rubber- 69 
powered Midori kit 

1/183 U.S. issue of Japanese kit 68 

1/422 US. issue of Japanese kit 68 

As above, with 68 

Thunderbird 

1/144 Tail pulls off to show engine 68-70 

detail 
1/144' Reissue of above 75-77 

1/144 U.K., same size as Aurora 70-71 

but different kit; reissued in 

1978 
1/55 Full interior derail 69-73 



1/3840 Based on designs appearing 76-current 
1/3840 in the Star Fleet Technical 77-current 
1/3840 Manual by Franz Joseph, 76-current 
l/3840these small, snap together 76-current 
models are primarily in- 
tended ds game pieces; 
other ships are available in 
metal 

1/60 Full interior detail 68-70 

1/60 Reissue of above 75-77 

1/300 Originalversionofglassnose66-73 
1/300 Reissue of above; larger 75-77 
base and surface detail add- 
ed 



/ 




Aurora's 
kit of the 
Voyager 
from TV's 
Fantastic 
Voyage. 



was more in the tradition of the company's 
prime product — automobile kits. The 
AMTronic, introduced as the car of the 21st 
century, actually embodied two vehicles in 
one — a small around-town runabout that 
could be coupled to a second unit to form 
an ultra-high-speed inter-city transport. 
This elaborate kit even included retractable 
road wheels to simulate transition from 
street to rail travel.. 

Another detailed kit, the Pilgrim Ob- 
server by MPC, was released in 1970. This 
model, which combined launcher, space 
station and deep space probe designs, be- 
came the last kit produced of a serious 
future space vehicle. Kits of real spacecraft 
had reached their peak at this time, and then 
started to rapidly lose popularity, along 
with other imaginative space kits. But they 
did not remain out of sight for long. 

From "Trek" to "Goloctico" 

Star Trek, for reasons known to Trek- 
kers everywhere, was still in syndication and 
well on the way to becoming even more pop- 
ular than during its three network years. 
Aurora (UK) renegotiated its Star Trek deal 
with AMT, and secured full possession of 
the second set of Enterprise molds. The se- 
questered Spock pattern was resurrected, 
dusted off and sent to England for tooling. 
By 1972, both AMT and Aurora (UK) had 
their own set of Enterprise and Mr. Spock 
molds, while AMT had the Klingon ship. 
The two companies agreed to use each 
others molds on the latter kits, and AMT's 
U.S. edition of Spock appeared in 1973. 

The next big science-fiction kit to find its 
way into plastic molds was Planet of the 
Apes. A newcomer in the business, Addar, 
produced the kit. The Apes models ap- 
peared so similar in design to previous 
Aurora figure kits that many hobbyists 
thought they were buying Aurora kits under 
another name. In fact, Aurora had turned 
down the Apes license since it also involved 
a double royalty (20th Century-Fox and 
Marvin Glass Associates, who had secured 
all hobby rights). However, Addar, a com- 
pany composed of a number of former 
Aurora employees who used many of the 
same outside sources that Aurora did to 
produce kits, jumped at the property. Thus, 
the similarities in design. From 1973 to 
1975, Addar produced seven Planet of the 
Apes figure kits, in addition to three "Super 
Scene" kits— miniature Apes dioramas en- 
cased in plastic bottles. 

Since this period, the kit manufacturers 
have enjoyed an almost unbroken string of 
TV- and movie-based science-fiction kit 
successes. AMT added the Galileo, 
Romulan and four other kits to their Star 
Trek line. They also reissued the Leif Eric- 
son, renaming it the UFO Mystery Ship. 

MPC produced kits based on The Six 
Million Dollar Man, The Bionic Woman 
and Space: 1999, as well as creating several 



original science-fiction kits of their own. 
These included the "Gigantics," a series of 
large, realistic-looking insects set in minia- 
ture scenes of destruction, and the "Strange 
Change" Time Machine which sent its in- 
ventor back to the prehistoric past. In 
England, the Six Million Dollar Man kits 
were produced under license by Denys 
Fisher, and two each of the Space: 1999 and 
"Gigantics" kits were marketed by Airfix. 

Aurora sought to reestablish itself in the 
science-fiction kit field with a new series of 
reissues and new kits. Many figures and 
vehicles from classic science-fiction films 
were considered, and several tooling pat- 
terns were actually completed. But Aurora 
decided to stop development on the new 
items until sales of the reissues could be 
analyzed. Six kits were rereleased in 1975, 
and all had some degree of new pre-formed 
mold work on them for improved detailing 
and part fit. In some cases, new parts and 
decals added new life to the old designs. 

In 1976, Lindberg reissued three of its 
kits from a series called "Star Probe." 
Several years earlier, they created the short- 
lived "Mars Probe" series, made up of four 
of their early space vehicle kits. The Satellite 
Launcher was not included in the newer 
"Star Probe" series, and the Flying Saucer 
was disturbingly absent from both reissues. 
Lindberg claimed that the Saucer's unusual 
size, price and packaging prevented it from 
being used with the other kits. 

Then came Star Wars. Although mer- 
chandizing licenses were offered a full year 
before the film's premiere, manufacturers 
only reluctantly invested in this totally 
unknown, one-shot movie. (A TV series 
that lasts at least 13 weeks is a safer invest- 
ment.) But eventually General Mills secured 
worldwide toy and hobby rights, and its 
MPC/Fundimentions division produced 
kits of R2-D2, C-3PO, Luke's X-Wing, 
Darth Vader's TIE Fighter and even a large 
Darth Vader head. 

With the popularity of visual science fic- 
tion firmly established, Monogram lost no 
time in producing kits from ABC's Battle- 
star Galactica. In fact, kits of the Viper 
Fighter and Cylon Raider were already on 
the shelves two months before the TV series 
started. 

Old Models Never Die 

Flying saucers remained hot items in 
1978, thanks to Close Encounters, and so 
Lindberg finally reissued the Flying Saucer, 
the world's first plastic science-fiction kit. 
The saucer kit, renamed the Unidentified 
Flying Object, is molded in glow-in-the- 
dark plastic — a partial compensation for in- 
flation's toll on the original's 89tf price-tag. 

That little saucer kit has really gotten 
around. Today it is common practice for 
special-effects modelmakers to use such 
plastic kit components to detail the surface 
of their original design spaceships. In the 



past, when films were less sophisticated and 
budgets were smaller, the SFX models were 
sometimes only slightly modified plastic kits 
—the Lindberg Flying Saucer "starred" in 
Plan 9 from Outer Space (1958). Another 
Lindberg kit, the Transport Rocket, is easi- 
ly recognized in Assignment — Outer Space 
(1962), The mid, Wild Planet (1965) and 
War Between the Planets (\91\). Inamodi- 
fied form, this kit also served as the main 
booster in the weekly TV series, Men into 
Space (1959-60). This same series once util- 
ized the Revell XSL-01 as a Russian space- 
craft. AMT's Enterprise kit showed up 
twice in the Star Trek series, first as the 
wrecked Constellation in "The Doomsday 
Machine," and later as the Enterprise itself 
as seen from the space station in "The 
Trouble with Tribbles." 

MPC has announced that two new Star 
Wars kits will be released this year. One is a 
full figure of Darth Vader which stands 
ll'/i" tall. The other is the long-awaited 
Millennium Falcon. This large, 18"-long 
model features cockpit and exhaust lights, 
retractable landing gear and operating 
loading ramps and gun turrets. MPC also 
plans to produce an original design space 
base, an action kit incorporating sound and 
other working features. Airfix will soon re- 
lease their new Gerry Anderson Starcruiser 
kit (see page 32), and have just reissued their 
2001 Orion. Other USAirfix releases in- 
clude a l/144th-scale model of NASA's 
space shuttle, the Apollo lunar module — 
the Eagle— and the workhorse of all U.S. 
manned missions, the Saturn V booster 
rocket. Airfix has also released a line of 
Soviet spacecraft, including a launch vehi- 
cle, Sputnik I and the more recent Soyuz 
craft. 

Undoubtedly, other SF kits, old and new, 
are sure to follow. And we can only guess 
what they might be or who will produce 
them, especially when considering how the 
hobby industry has changed since the early 
50s. Strombecker switched ownership and 
is now the producer of Tootsie Toys, which 
has no interest in hobby kits and does not 
own the original Strombecker kit molds. 
Hawk was acquired by Testors several years 
ago; AMT is now owned by Lesney (the 
Matchbox people) and Addar is out of busi- 
ness. Aurora recently became part of the 
Dunbee-Combex-Marx toy conglomerate. 
D-C-M isn't interested in hobby kits, and 
Aurora's kit tooling operation has been 
sold to Monogram, which has already reis- 
sued a number of old Aurora kits, including 
Superman and Godzilla. 

Will Monogram reissue any more of the 
old Aurora science-fiction kits? Will they 
use any of the patterns Aurora created for 
its "new" science-fiction line? Will 
Lesney/Matchbox/AMT do a kit of the 
new Enterprise! Will MPC do yet more Star 
Wars kits? And finally, what is Revell doing 
with all its old spaceship tooling? Only time 
will tell. * 



64 




By PAUL MANDELL 

When I first met David Allen in 
March of 1974, he was hunched 
over an animation table on a dark 
stage at Cascade Pictures (now CPC 
Associates) bringing to life the little wonder 
of television known as The Pillsbury 
Doughboy and his female counterpart, Lit- 
tle Poppy. I stood in the wings so as not to 
disturb him and watched. He did a little 
pantomime to determine how the figure 
should move, manipulated its foam-and- 
armatured arms a fraction of an inch 
without the aid of a surface gauge, clicked 
off a frame of film. I was only vaguely 
familiar with Allen's name, having known 
through film literature of his association 
with Jim Danforth, his solo animation of 
the Chasmasaur in When Dinosaurs Ruled 
the Earth and of his work in Equinox. Only 
several months before I had bolted out of 
my chair one night after seeing King Kong 
climb the Empire State Building— in col- 
or—then climb into a Volkswagen Super- 
beetle and zip down the streets. of Man- 
hattan. I was pleased to learn a short time 
later that Allen had animated it, copping 
two Clio nominations in the process. 
After consulting his stop-motion flow 



Above left: A young 

David Allen sculpts 

a test alien for The 

Primevals.J-e\\: The 

very personable aliens 

created for Laserblast. 



chart, Allen took a breather. He straight- 
ened his compact, muscular frame, touched 
his beard pensively and adjusted his wire- 
framed glasses. He greeted me with a firm 
handshake and a friendly smile. When ask- 
ed how he was able to concentrate with all 
the ruckus going on from the Revlon com- 
mercial being filmed next door, he replied 
that he had learned to animate under the 
most adverse conditions. I recalled Ray 
Harryhausen's comment on the need to be 
confined to a noise-free stage and mused at 
the contrast in situations. After an hour of 
conversation, I realized that I was in the 
company of a guy who could easily double 
as an elocution teacher or a doctor of 
philosophy. 

The following week I trekked over to his 
Burbank studio, a large converted audi- 
torium flanked by NBC and Warner 
Brothers, with the Walt Disney complex less 
than a mile away. A stroll through its in- 
terior revealed a mass of cables, Century 
stands and Mitchell studio cameras. Large 
black canvases were draped over the win- 
dows to prevent light spill. In the far comer 
stood a maze of miniature sets, the village 
for his planned TV puppet special, The 
Magic Treasure. The project had been mov- 
ing in dribs and drabs, with most of Allen's 
time being consumed at Cascade in order to 
buy food and pay the rent. (To date, it is 
about 85 percent complete.) In a large glass 
case stood, quite harmlessly, several recog- 
nizable items of stop-motion memorabilia: 
the Taurus monster from Equinox (the steel 
armature glinting through the rotting rub- 
ber), a wooden beetle-man once tooled by 
the late Pete Peterson (later to be used in 
Flesh Gordon), and— lo!— Allen's recrea- 
tion of Willis O'Brien's Eighth Wonder of 
the World! 

But the most intriguing item was yet to 
come. Allen opened a cabinet, revealing 
several shoeboxes. He opened one of them 
carefully and removed the yellowing tissue 
paper within. Exposed was a painstakingly 
detailed, fully armatured lizard-man de- 
signed and built in 1968 for an ambitious 
project called Raiders of the Stone Ring. I 
spent some time manipulating it and admir- 
ing its anatomy. Clearly, the model could 
easily rival the finest stop-motion figurine 
devised by Ray Harryhausen or Jim 
Danforth. 

Raiders, I learned, was an Edgar Rice 
Burroughs-like epic conceived by Dave 
Allen in 1967 with an assist from Danforth 
and Dennis Muren. In 1968, Hammer 
decided to produce it while When Dino- 
saurs Ruled the Earth was still in production 
but ultimately tried to bastardize it into 



i\ 




Right: Animator David Allen with Fay 
Wray of King Kong fame. TV viewers were 
treated to the sight of King Kong climb- 
ing the Empire State Building in color, 
then climb into a Volkswagen Superbeetle 
and zip down the streets of Manhattan 
in a recent Volkswagen commercial. 
A short time later Allen copped two Clio 
nominations for his skillful work. 



Zeppelin vs. Pterodactyl which never 
materialized. At the time, Allen and crew 
felt confident enough to produce a lengthy 
featurette on Raiders in order to influence 
the Hammer people— one elaborate shot 
showed a vicious lizard-man attacking a 
Viking warrior playing by Bill Stromberg 
(later the producer of The Crater Lake 
Monster). Unfortunately, the featurette 
proved futile, even counterproductive, and 
the project was shut down. But it did not 
die; the storyline continued to improve and 
mature, surviving many periods of hiber- 
nation. By 1975, the Burroughs motif had 
been discarded, the characters made more 
credible, the concept changed drastically 
and an extraterrestrial influence was intro- 



duced. 

The punch is that Raiders, after weather- 
ing a 10-year juggling act, has evolved into 
The Primevals, a high-budgeted film-in- 
the-works that promises to raise the stop- 
motion adventure formula to a level of 
credibility unprecedented in the genre. 

Dave Allen is excited about this picture 
for many reasons. The most obvious reason 
is that it will be his first solo feature. But 
perhaps more importantly, it signifies some- 
thing that even a master like Ray Harry- 
hausen has not had the opportunity to exer- 
cise — a nearly complete creative control 
over the project from start to finish. Not 
only is Allen animating the creatures 
(there's a multitude of them) and co- 








authoring the screenplay, but he also antici- 
pates directing the live action as well. 

How does one attain such a position in 
the genre? It's not easy. For one thing, 
Allen, at the pivotal age of 34, has paid his 
dues in the special-effects world, having 
worked steadily at Cascade-CPC for 11 
years doing commercials that have become 
hallmarks of today's video culture. He'll 
also be the first to tell you that he's been 
lucky, and that is something one cannot 
plan or anticipate. Still, certain elements 
must be present in one's being— total con- 
viction to the art form plus the ambition 
and ability to forge ahead on your own. 
That is basically why wunderkind Harry- 
hausen was able to animate Mighty Joe 
Young at the relatively youthful age of 27 
and Jim Danf orth was given free reign over 
the effects for When Dinosaurs Ruled the 
Earth at age 28 . Now Allen faces his greatest 
challenge — bringing off The Primevals as 
conceived, and facing the enormous prob- 
lems inherent in producing a stop-motion 
fantasy feature. 

Allen's orientation into dimensional ani- 
mation may have a familiar ring to it, as 
fans of Harryhausen and Danforth will 
note, but the experience of viewing the ori- 
ginal King Kong for the first time has always 
been an extremely personal one.' Seen at age 
seven during its 1952 re-release, Kong ex- 
posed Allen to the genius of Willis O'Brien 
for the first time. Consequently, the film 
created interest for the young boy in a 
number of areas. Adding more fuel to the 
fire was the release of The Beast from 
20, 000 Fathoms shortly afterwards, but the 
visceral effect that Kong had on Allen 
would never be forgotten. "I remember 
wondering how it was done," he reflects 
fondly, "not because I can recall the feeling 
of being bewildered, but I can recall asking 
questions of adults about how it was done. I 
remember being told at a young age that it 
was a number of people piled on top of each 
other in a giant costume, which of course 
was ludicrous, but it satisfied me at the time. 
But I also remember being aware of the 
mechanical aspects of Kong's appearance 
and movements. Instead of a turn-off it was 
a turn-on. I'm sure anyone interested in 
stop motion knows exactly what I'm talking 
about — that whole different kind of 
kinesis, that whole different elan." 

' ' I picked up on the same characteristic in 
the films of Ray Harryhausen as they began 
to come out," Allen continues. "Of course, 
I saw practically every horror and science- 
fiction film that came out until about 1957 
when AIP started their teenage monster 
movies. I saw such a difference in quality, in 
addition to the fact that I was maturing, 
that most of these films didn't have too 
much to offer me anymore, although I con- 
tinued to see Ray's films. 

"I did see How to Make a Monster," 
muses Allen. "Though I really didn't 
believe I'd find out how to actually make 
one, I think I was rather hoping to-see some 
documentary scenes in the lab — much to 
my disappointment! I never knew certain 

• 67 



films would feature stop-motion until I sat 
down in the theater, and I never associated 
them with Ray Harryhausen as aperson un- 
til The 7th Voyage of Sinbad. Actually, I 
didn't go out and shoot stop-motion until I 
was almost ready to graduate from high 
school, which is a pretty late age for kids to- 
day!" 

Allen graduated from Cal State College 
at Fullerton and took courses in the human- 
ities, film and art, majoring in English. 
' 'There was no such thing as media courses 
at that time. Although I had investigated 
going out to USC, which seemingly always 
had a cinema department in existence, I was 
not interested in the entire discipline of film- 
making, though I should have been. In- 
stead, I was strictly interested in the tech- 



quite good. 

Allen devoted nearly a year and a half to 
creating several complicated cartoon "flip- 
books" based on scenes from King Kong 
and 20,000,000 Miles to Earth using snap- 
shots taken off a TV screen as reference im- 
ages. "I learned a lot from that exercise," 
he says smiling, "satisfied with immersing 
myself in this work I was so fascinated by. 
However, I really wasn't taking full advan- 
tage of 'cartoon license.' Most of my flip- 
books were drawn as though they would be 
puppets; there was no elasticity in the draw- 
ings as there should have been. In that 
respect it was a natural evolution to get into 
stop-motion puppet work." 

Allen's first filming ventures began in 
1962 and he continued to produce footage 




David Allen, during one of his infrequent visits to New York, created the magical 
"clothes in the dryer" effect for Bounce (a laundry product) at Totem Films. Allen 
considers himself very fortunate in that he has been able to work at his field as 
a full-time career. "I stayed in college to give myself another option profession- 
ally, but fortunately I've been working in special effects almost without a break." 



nical problem-solving of making models, 
along with some interest in the photo- 
graphic equipment that I might have been 
able to afford. 

"I was very interested in rear 
projection," he recalls, "and spent a lot of 
time devising a 16mm system. I used a Key- 
stone projector — not a very good one— and 
hooked up a cable to it. Frames were ad- 
vanced by using a long pulley that went to 
the flywheel of the projector. However 
crude, it worked. I also had a very good pro- 
cess screen developed by a man named 
Bodde. He had a system by which he 
sprayed a translucent material over sheets 
of mylar. When he died, no one else knew 
how to get it!" Using Kodachrome film for 
his rear-projection plates, the results were 
68 



on and off until 1965, when he was 21. Only 
three or four models were made up to that 
time including a dragon for a fairy-tale 
short and a faithful facsimile of Ray Harry- 
hausen's skeleton from The 7th Voyage of 
Sinbad. The armature was primitive at 
best, but it worked. 

Then came Equinox, which was con- 
ceived as a showcase for the special-effects 
abilities of Dave Allen and Dennis Muren, 
who produced the original 16mm version. 
Jim Danforth provided several matte paint- 
ings. 

For Equinox, Allen animated a huge 
lumbering creature called Taurus, which he 
designed and built out of foam, latex and a 
metal armature. The animation was per- 
haps not as fluid as it could have been, but it 



did exhibit the influence Willis O'Brien's 
work had over Allen's psyche. In this, it is 
perhaps important to quote Jim Danforth 
in a famous comment he made several years 
ago, that "the strength of stop-motion is 
not that it is super-realistic, but that it has 
style. " Ray Harryhausen began to choreo- 
graph his movies as early as Mighty Joe 
Young (perhaps it is most noticeable in the 
Ymir), which has become his much-revered 
trademark; Danforth has given his 
creatures certain gestures which make his 
work identifiable. O'Brien's work was 
somewhat different — he strived for more 
energetic or kinetic animation, and while he 
may not have been the ultimate clinical ^ani- 
mator, his style was unmistakable. It is this 
forceful energy that perhaps characterizes 
Allen's work; the death of Taurus and the 
vicious attack of the lizard-man in the 
Raiders test reel are good examples of his 
style. Nevertheless, when ultra- fluid anima- 
tion is required by a Doughboy spot, it is no 
problem for Allen. "Stop-motion ani- 
mation does not lend itself to naturalistic 
theatre," Allen observes. "It is partly that 
prejudice which has caused many producers 
in the past to shy away from it." 

After the success of Equinox, Allen 
decided to enter the field professionally. He 
landed his first job at the now-defunct Art 
Clokey Productions, a breeding ground for 
many animators. "I never actually ani- 
mated a Gumby," he confesses, "although 
I did build props and models that were be- 
ing developed for Gumby at that time — a 
dragon, a thing called Prickles and a fish- 
like creature called Goo. Art designed them 
and we built them. I wasn't there too long. ' ' 

Allen was still in college when he started 
working at Cascade early in the summer of 
1967. His first job there was to build static 
models of the Doughboy to be used for 
advertising and still photography. "As a 
matter of fact," he says laughing, "I had 
been given incorrect information and it 
took me some time to build them. I was 
merely following the memos that had been 
handed down to me. When the models were 
received, they weren't too happy with them 
on account of things they claimed they had 
asked to be provided. A set of new instruc- 
tions came down and I had to do them all 
over again ! ' ' During the lapse of time in do- 
ing the same job twice, he began building 
props for the Nestles Chocolate commercial 
campaign and eventually started animating 
Hans, the Nestles Man. "I was also the 
original animator of Swiss Miss," Allen 
recalls, "and Jim Danforth built the pup- 
pet. Hedidabeautifuljobwithit." (In later 
years, Swiss Miss was brought to life by 
Laine Liska and more recently by Gene 
Warren Jr. at Excelsion Animated Moving 
Pictures, the studio where the Land of the 
Lost puppets were made.) 

Allen worked steadily at Cascade for 
nearly 10 years and was occasionally farmed 
out to perform different tasks. In 1969, he. 
took a temporary hiatus when Danforth, 
swamped with 25 matte paintings for When 
Dinosaurs Ruled the Earth, requested that 






Allen come to England and animate the 
Chasmasaur. He also had occasion to visit 
New York City, where he was assigned 
to create the magical "clothes in the dryer" 
effect for a Bounce (a laundry product) 
commercial done at Totem Films. "When 
Cascade went out of business in 1975 and 
CPC was formed, I stayed there until the 
beginning of 1978 and left in order to begin 
preproduction work for The Primevals. 
That's a total of over 11 years! It's a 
long time to have been in one place, literally 
too long! 

"I never expected to be fortunate enough 
to be able to work in this field as a full-time 
career," Allen admits candidly. "I stayed in 
college to give myself another option pro- 
fessionally, in education. The irony was that 
the teaching profession dried up out here 
and I was able to stay employed in a profes- 
sion that is supposedly notorious for its long 
dry spells! I suppose I might be able to get a 
job teaching media if I had to, but fortu- 
nately, I've been working in special effects 
almost without a break." 

The "whrrrr" of the stop-motion motor 
attached to his Mitchell camera comes to a 
halt — the photography of Jena Holman's 
Primevals matte painting of the Himalayas 
has just been completed.* The magazine is 
unloaded and the film is placed in a metal 
can, then taken to the lab so the "dailies" 
can be seen the following day. 

Allen is optimistic about his film, but two 
years of work lie ahead of him. Despite the 
fact that he has garnered a certain amount 
of notoriety in his field, he is basically prag- 
matic about the business and constantly 
keeps his career in perspective. "I don't 
know if I feel entirely comfortable about the 
future," he asserts with a philosophical 
flourish. "I feel it's important to somebody 
in the film business to try to keep raising his 
sights and elevating his ambitions. It's also 
very difficult to stay in the same work situa- 
tion, indefinitely. But we're now in the mid- 
dle of a special-effects renaissance. In fact, 
it's more than a renaissance; there's almost 
been nothing like it ever, except maybe dur- 
ing the 50s in a certain limited sense. Special 
effects at that time had a more cloistered 
quality, done in more regulated studio de- 
partments. There was no real demand for 
effects on a service basis. Companies like 
Project Unlimited went on for years doing 
well sometimes and perhaps not so well for 
a long stretch. "■ . 

' 'Now we have a very different situation. 
And I fear what might happen when the 
trend recedes and the tide goes back out to 
sea, there's going to be a lot of fish 
floundering. That's one of the reasons I'm 
trying to raise myself above the very com- 
petitive situation that's bound to evolve. 
There are dozens of people applying for 
jobs and positions and I happen to believe 
that many of these people are not fully 
qualified. But they find great satisfaction in 
applying for and hopefully getting the 



•Within thai expertly realized tableau, a stop-motion Yeti will 
roam and Tall captive to a group of Tibetan villagers. 



work. There's a lot of incompetency. I think 
we have a situation today where the man- 
agement of companies is not qualified to 
decide the qualifications of its applicants." 

With the advent of Star Wars and the 
sophistication of motion-control equip- 
ment at hand, the recent accent on effects 
has mostly been confined to outer space 
shots, with sleek spacecrafts gliding, ballet- 
like, through the black voids simulated on 
studio sound stages. While the stop-motion 
adventure appears to have taken a back seat 
to this recent development, Allen sees it as a 
passing phase and in no way a deterrent to 
his specialty. "If we were seeing a rash of 
lizards being used for dinosaurs or a bunch 
of men in suits, I might say that there's a 
competitive conflict. Because of things like 
Star Wars, many people have been very in- 
volved in space shots and repetitive camera 
systems, But I think it is a very limited tech- 
nique. Eventually, interest in that kind of 
look, of a ship in space rolling, banking and 
blowing up, will begin to fade. I can't pre- 
dict this, but I wouldn't be at all surprised if 
interest moves from that position to the 
more dramatic use of stop-motion and 
special effects. As I've always said, stop- 
motion is the only truly dramatic special- 
effects medium. A ship may fly by and dis- 
integrate, but it is not a character in the 
movement of a story. That's one of the great 
attractions of stop-motion to those of us 
who do it." 

Allen admits that he would like to have 
other associations in his career besides being 
a stop-motion animator or a special-effects 
man. "I'm beginning with the idea that I 
want to direct The Primevals, which is 
bound to be an important career credit. 
Convincing the people on the producing 
end to get behind that idea is a very difficult 
thing. In fact, my only hope in being able to 
direct it is not because they would choose 
me but because it is a condition that I would 
put on the project, enabling them to get the 
other part of the picture from me as well. 
It's a situation you can compare to, say, 
Michael Crichton, who writes a best-selling 
novel and attaches the sale of that novel to 
the condition of him directing the picture, 
as it was with Coma. I happen to think that 
I'd qualify more as a director than a writer 
would. Crichton says he could teach anyone 
to direct in one day! We have a problem in 
this business which has to do with an in- 
clination towards a sort of 'tried-and-true' 
mentality. I know what Primevalshas to be, 
and I think my overall creative control is go- 
ing to remove a lot of unnecessary com- 
plications and ego problems of making it 
materialize. Still, I would continue to rely 
on educated advice." 

The precise storyline of The Primevals 
must be shrouded in secrecy for now. While 
the film will feature some awesome spec- 
tacles, such as a colossal horned river lizard 
attacking the principals of the cast, it is not 
another dinosaur movie. Moreover, the 
film is fantastic in nature, though it is not a 
fantasy per se. What it will attempt to do is 
ask the audience to really accept it, and to 



rediscover a certain mentality that charac- 
terized the sci-fi/horror flicks of the early 
50s: taking itself seriously, a wedding of the 
fantastic with reality. While no one will be 
■wearing a turban or flying on a carpet in The 
Primevals, Dave Allen still recognizes his 
respect and admiration for Ray Har- 
ryhausen's films. 

"Ray has a very genuine personal and 
professional commitment to creating mo- 
tion pictures in the fantasy/mythology 
idiom, and I think that both he and Mr. 
Schneer deserve enormous credit for intro- 
ducing stop-motion into this type of film, 
and being successful while simultaneously 
doing the projects they have wanted to do. 
But tastes will differ, and I have hoped for 
sometime to do a project that looks back a 
bit to the era when the explanations for 
phenomenal creatures were more plausibly 
advanced. In my view this gives the au- 
dience the possibility of sharing emotions 
that the actors try to communicate within a 
realistic situation. Of course, very few of 
these types of horror films have been com- 
pletely convincing in this regard. ..." 

Primevals is an entirely different thing in 
that regard," Allen states proudly. "You 
know, if something like The Beast from 
20,000 Fathoms was done today on, say, a 
Spielberg production basis — particularly if 
he did it, since it guarantees a certain usher- 
ing in of a wider audience — that would 
probably work. Hell, maybe Spielberg 
should have been approaching Harry- 
hausen and Schneer long ago for doing 
something like that. It's the old mon'ster- 
on-the-loose brought up to date. He's al- 
ready done it successfully with Jaws. But 
what they should have been doing was 
something like The Primevals. Primevals, 
to me, is the obvious next step. It's been ob- 
vious for the last 10 years — so obvious, in 
fact, that some of the new film people are 
starting to chip away at it. 

"I'd certainly like to have people think of 
a Dave Allen Film as opposed to a Dave 
Allen puppet," he continues. "There are 
many people in this business who are not 
interested in being in the position of pro- 
duction determination. But I am and Jim 
Danforth is. I know the reason I am and I 
can guess the reason that Jim is. Frustration 
alone would be enough of a reason." 

During the past several years, David 
Allen has managed, in the midst of his job 
at CPC, to supervise and set up stop-mo- 
tion facilities for low-budget affairs like 
Crater Lake Monster and Laserblast. He 
chalks it all off as another film credit, a step- 
ping stone to bigger and better things. Un- 
fortunately, he often finds himself taking 
the brunt of such dismal efforts by an ig- 
norant press who "blast" him for direc- 
torial deficiencies completely out of his 
domain. 

While the brickbats Allen endures in 
these instances are understandable (since his 
name appears as "director of visual ef- 
fects," which in turn is misinterpreted by 
the public and the media), he still has 
qualms with followers of his work who 

69 



often find it convenient to pit his name 
against those of his peers. "There's too 
much of a tendency to compare animators 
strictly on the basis of their technique," he 
says. "Jim Danforth is a marvelous clinical 
animator, but I don't even like to compare 
Jim in that one limited area. It's like com- 
paring the draftsmanship of a Renoir to 
that of a Michaelangelo. You don't say, 
'Which is better, apples or pears?' I think 
people are too interested in the old 
American thing of needing a winner. The 
skill to animate something in such a 
way — who can do the smoothest walk, 
etc. — that is just a small smidgen of the 
overall design of a film's total effect." 

All artistry aside, there's one facet of 
David Allen that cannot be overlooked; 
he's helped more people break into the 
stop-motion business than just about 
anyone else. Individuals like Jon Berg, Phil 
Tippett, Randy Cook, Laine Liska, Dave 
Stipes, Paul Gentry and myself owe him 
that debt of gratitude. But it should also be 
emphasized that Allen has basically been a 
catalyst and a source of inspiration — the 
logistical ability to get things done properly, 
the talent for creating professionally ac- 
ceptable animation and a certain improvisa- 
tional ingenuity all must be part of the art- 
ist's makeup in order for him (or her) to suc- 
ceed. His advice to youngsters who may 
have mixed feelings about getting into the 
stop-motion profession, however, is not of 
dreamlike encouragement, but rather a re- 
flection of the hard realities of the business. 

In a previous starlog interview, Jim 
Danforth suggested that "anyone thinking 
of stop-motion work as a career should give 
it serious consideration. Then they should 
try to talk themselves out of it . " Dave Allen 
offers his comment on a similar note. "Get- 
ting into stop-motion as a career doesn't 
seem to be a very wise thing to do. If you 
have something more than an interest but 
are questioning whether or not you should 
pursue a full program of study, then I would 
say make the effort to get interested in 
something else. Still, I suppose it's better to 
follow that star than no star at all." In fact, 
Allen continues to lend a helping hand to 
those he feels exhibit a more-than-usual ap- 
titude for special effects, although he finds 
that he must be more frugal with his time 
and generosity these days when he considers 
the awesome task that lies before him — get- 
ting The Primevals off the drawing board 
and onto the screen. 

In a singularly lit corner of his studio, 
Dave Allen manipulates a fanciful-looking 
lizard-man perched upon the console of a 
mind-altering laser gun. The set is a huge 
wooden arena where some of the climactic 
portions of his film will take place. He 
checks the camera, raises an eyebrow, then 
clicks off the last frame of film for the day. 
He looks pleased, then pensive, perhaps re- 
membering with a wince how long that ani- 
mation model hibernated in a box of tissue 
paper. Now it comes to the screen. 

Allen, reassured, flicks off the lights. * 
70 




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Researched and written by 

West Coast Editor DAVID HOUSTON 



SF Currents in the Mainstream 
Part III -"Drove New World" and "1984' 



Aldous Huxley's Brave New World 
(1932) and George Orwell's 1984 
(1949) are among the most influ- 
ential and widely studied novels of the 20th 
century. Both lure their readers into imagi- 
nary totalitarian (dystopian) societies 
wherein the individual is subjugated to the 
State through various scientific means — 
birth control to mind control and pro- 
grammed death. Both novels follow amisfit 
in his attempts to understand and beat the 
system; both contain stories of forbidden 
love; neither has a promising ending; and 
both novels — which present brilliant ex- 
poses of the potential evils of socialism — 
were written by socialists. Yet they are re- 
markably different artistically and philo- 
sophically. 

Brave New World, in a satirical style 
reminiscent of Voltaire, shows a gleaming 
glass world brimming with the appearance 
of luxury and privilege, in which "everyone 
belongs to everyone else" and "everyone is 
happy now." Happy because everybody is 
budded from community cells, biologically 
conditioned through a test-tube gestation, 
sleep-taught through childhood and further 
shaped into a round peg that can fit only in- 
to a round hole. Physiques and intellects are 
designed to range from Alpha Plus — the 
upper echelon of administrators and con- 
trollers — to Epsilon-Semi-Moron — eleva- 
tor operators and the like. 

The culture's cure-all is soma, a mildly 
hallucinogenic tranquilizer that makes any 
discontent or maladjustment a breeze to 
bear. Their god is Henry Ford ("Oh, for 
Ford's sake; be quiet!"), developer of as- 
sembly-line production. The Christian 
Cross has had its top lopped off, and it now 
appears as a "T." 

In this world, set about 500 years into the 
future, Bernard Marx becomes aware of his 
individuality through an accident of condi- 
tioning: he's a little too small, too instro- 
spective, too shy. He knows he has emo- 
tions for which there are no longer words to^ 
express. He is in love (a sin in itself) with 
Lenina Crowe— a bubblehead who thinks 
he's cute and who isn't quite promiscuous 
enough to suit, her girlfriends. Bernard and 
Lenina rocket from London to New Mex- 
ico (6 Vi hours) to holiday on a savage reser- 
vation— where they meet John. 

John, the noble savage, Biblical associa- 
tion intentional, is the accidental son of two 
72 



Eastasia and Eurasia — with nothing real to 
previous civilized vacationers. He was born, 
reared and educated — on forbidden books 
and folklore — at the reservation. Excited by 
the prospect, he returns to London with 
Bernard and Lenina, where he completes 
Bernard's conversion to endangered critic 
of the establishment. There, also, John 
finds himself trapped in a sterile, loveless, 
immoral, dehumanized society. 

Bleak as life is there, and purposeless and 
childish as the people are, still there is sun- 
shine and humor in Huxley's Brave New 
World. Written before Stalin and Hitler 
emerged, BNW shov/s terrorist tactics made 
unnecessary by the universal blind commit- 
ment built into the people. 

But in 1984, written shortly after World 
War II, the Sun never shines. Orwell's vi- 
sion of totalitarianism is dark, anxious and 
sprinkled with inexplicable terrors. 

In 1984, telescreens are two-way — and 
everywhere ("You had to live — did live, 
frohi habit that became instinct — in the as- 
sumption that every sound you made was 
overheard, and, except in darkness, every 
movement scrutinized."). The paramount 
crime: a thought against the State. A father 
is denounced by his small daughter because 
she heard him mumble in his sleep, "Down 
with Big Brother." Thoughtcrime. 

The world of 1984 is imperfect. Produc- 
tion lags, people starve and go barefoot; 
and all deprivation is blamed on a spurious 
war that never ends, a war fought among 
three ideologically identical superstates- 
Oceania (England and North America), 
win or fight for. 

WAR IS PEACE, FREEDOM IS 
SLAVERY and IGNORANCE IS 
STRENGTH: the contradiction reigns— 
and destroys one's grip on objective reality, 
making people dependent upon whatever 
the State claims the truth to be. The great 
quest in 1984 is the development of New- 
speak— a universal language that grows 
smaller in vocabulary ever year as it deletes 
all concepts with which one might express 
jnalcontentment. 

London is ruled from four massive build- 
ings, the Ministries of Truth, Peace, Love 
and Plenty. ("The Ministry of Love was the 
really frightening one. There were no win- 
dows in it at all.") At the Ministry of Love, 
dissidents are tortured and brainwashed un- 
til they love Big Brother. 



Winston Smith, a slight, unhealthy man 
with an unnatural fear of rats, works in the 
Records Department of the Ministry of 
Truth. And he knows what he's writing are 
lies. 

Romantic love is as taboo in Orwell's vi- 
sion as it is in Huxley's. Both authors 
recognized the relationship as too selfishly 
individualistic to be permitted in a one-for- 
all dictatorship; but while Huxley deduced 
that therefore all would be giddily pro- 
miscuous, Orwell envisioned an Anti-Sex 
League to promote abstinence. One of its 
members, beautiful and sex-starved hypo- 
critical Julia — who if anything is more 
courageously anti-establishment than 
Winston — loves him almost more than life. 

Who will betray Winston? Julia? 
O'Brien, the high official who claims to be 
anti-Party? Goldstein, the hated leader of 
the supposed opposition? Charrington, the 
shop owner who has an attic room with no 
two-way telescreen? Ampleforth, the poet? 
The vicious Party-indoctrinated children of 
Winston's neighbor? One reads on, gripped 
by a Dostoyevskian style, waiting with a 
perpetual lump in the throat for the inevi- 
table. 

Brave New World succeeds best on an in- 
tellectual level — as the reader fits together 
the pieces of a jigsaw-puzzle landscape. 
1984 grips emotionally while presenting in- 
tellectual feasts such as the revelations of to- 
talitarian motive and the techniques of 
brainwashing. In spite of the regrettable cal- 
endar in 1984, neither novel is dated. The 
world at large has still to learn their lessons. 

In a way, one can take the two books as 
companions. If the world of 1984 were to 
succeed completely in its development of 
Newspeak, making mind-control a simple 
matter of policy, then— a few hundred years 
later — one might find the Brave New World 
of Huxley's imagination. But there's at least 
one other direction the dictatorship of 1984 
might take — toward the world of Ayn 
Rand's Anthem. 

Both Huxley and Orwell assume that, 
however dehumanizing, a mechanized, 
socialistic, technologically progressive dic- 
tatorship is practical. Rand does not. * 



"SF in the Mainstream" concludes in the 
next issue with Ayn Rand's Anthem and 
Atlas Shrugged. 



miteG 



t>i ji.rm 











We have seen the future . 
and it is fun! 



Take a trip into Tomorrow with 
FUTURE LIFE, the magazine of 
things to come. In each and every 
issue, explore the many worlds of 
'what if,' meeting some of the top 
futuristic thinkers of the science 
and science fiction communities. 
Can space science save the seas? 
Doescryonics insure immortality? 
What will life on the first space col- 
ony be like? Will the new Star Trek 
movie live up to its hype? Endless 
questions about endless Tomor- 
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fler, Timothy Leary, Gerard K. 
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SPACE ART: Breathtaking full 
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such artists as Chesley Bonesteli, 
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dy and Adolf Schaller. 

TOMORROW: A column 



devoted to future trendspenned by 
such authors as Jacques Cousteau, 
Isaac Asimov, Ben Bova, Fred 
Pohl, Roger Zelazny and Robert 
Anton Wilson. 

MOVIES: Behind-the-scenes 
looks at both futuristic film classics 
and classics to come, including 
Metropolis. The Shape of Things To 
Come. Meteor, Alien, Star Trek, 
Superman II and the Star Wars se- 
quel. 



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Bradbury's The Martian Chronicles. 

PLUS: The latest news in space 
science, medicine, architecture, 
energy, literature, music and all as- 
pects of FUTURE LIFE. 



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NAME 



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—A 

1 




T! 



•here is definitely "something hap- 
pening" out there — both in the 
far reaches of space and in the 
depths of the human psyche. Astrono- 
mers have been making quantum 
jumps in our understanding of the 
scope, nature and origin of the Uni- 
verse during the past couple of years. 
Along with the new information has 
come new mysteries — new questions. 
One of the most startling and in- 
triguing findings has been the dis- 
covery — in the supposedly "empty" vastness of outer 
space — of the necessary elements for the evolution of life. 
Indeed, primitive amino acids, the building blocks of life, 
have been discovered in recent meteorite samples. Solar 
scientists have had to rethink the foundation of their disci- 
pline in the light of information gathered in the last two 
decades. Stars, it now appears, do not exist in a steady-state 
(or unchanging) condition. Their fluctuating energy 
cycles — flares, sunspots, prominences and other 
phenomena — are now seen to have a profound effect on 
terrestrial weather patterns . . . other effects of variable solar 
output are still a matter of speculation. 

Advanced technology has forced scientists in many dif- 
ferent-fields to re-examine the "laws" that govern their dis- 
ciplines. The Universe has become a more complex and 
mysterious place than modern science had previously imag- 
ined. At the same time, in the past few years, UFOs have 
been in the news again — and in the entertainment media. 
Secret C.I.A. files have brought to light several very curious 
UFO encounters. And, in the wake of CE3K, Project UFO, 
Mork & Mindy, et. al., new public interest in UFOs has 
again been generated. 

Many of the UFO theories that have been proposed are 
intriguing; many are downright incredible. And, along with 
a serious international effort to study UFO phenomena, a 
majority of Americans polled have expressed their belief in 
the reality of UFOs and their supposedly alien pilots and 
passengers. 

Certainly, most science-fiction fans are fascinated by all 
of this extraterrestrial hubbub . . . but let's not swallow it 
hook, line, and sinker. Whatever the true nature of 
UFOs — whether they are a group of previously unknown 
and uncategorized natural phenomena or actual "alien" 
artifacts— they are not the key to humanity's future. 

Science fiction is a wonderful vehicle for setting the mind 
free — to explore new corridors of thought and examine new 
and unique perspectives. Here, in this ability to seek out and 
understand new information and new perceptions, is the key 
to humanity's future. 

Don't misunderstand — I'm not against enjoying far-out 
SF entertainment. However, I strongly feel that it is not 
necessary to look beyond one's own inner resources for 
hope, reassurance and a positive future— even at a time 
when most of the scientific community is providing us with 
more questions than answers. 



GALACTICA STARS 



//L 



S) 




For the growing legion 
of Battlestar Galac- 
tica fans, starlog 
continues its close-up 
coverage of the show's 
stars. Both Lome Greene, 
who portrays the Battle- 
star's Commander 
Adama, and Noah 
Hathaway, who is a 
natural for the part of the 
orphaned Boxey, are fea- 
tured in exclusive, candid 
interviews guaranteed to 
add to your future enjoy- 
ment of the show. 



CAREERS IN SFX 



Starlog's popular SFX series continues with answers 
to some of the most frequently asked questions from read- 
ers who are interested in filmmaking and special effects 
careers. You'll have the advice of the experts, as young 
veterans John (Star Wars) Dykstra, David {The Primevals) 
Allen and Frank {Towering Inferno) Van Der Veer talk about 
how they got their professional starts. Also included will 
be a first-hand account from a young fan of stop-motion 
of what it's like trying to break into the big time. 



PLUS 



Number 22 will also have previews of several new science- 
fiction films that are currently in production, including 
this year's new James Bond extravaganza, Moonraker — the 
most SF-oriented Bond film to date. And fans of Eric 
von Daniken will have their heads turned around by an 
off-beat little feature entitled "Statues of the Gods." 



^€LA^K_. JrC^r^rrt^L'. 



STARLOG #22 

on sale 

TUESDAY, 
APRIL 10, 1979 



Howard Zimmerman/Editor 



74 







NOW 
'"* For the first time 

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■ plus my greatest hits in the 
forbidden planet sound 
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* And now Bernard 
* Herrmann's great themes 

including — Seventh 
-" Voyage of Sinbad, Day the 
Earth Stood Still, and 
many more 




FORBIDDEN PLANET 

ALBUM PLUS COLOR 

POSTER OF ROBBY 

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BERNARD HERRMANN'S 

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WORLDS 









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FANTASY CLASSICS logo — • -;? , 
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• .A-v-:C8» ... . 
WOMENS: S, M, L Colors: Peach, Yellow, Blue, Beige 
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© Copyright Gerry Anderson Marketing Ltd. 1978 

The Starcruiser I is an exciting modular space 
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